衷心祝賀香港藝術節今年邁向第4 7屆。今屆藝 術節陣容鼎盛，共有超過1700名來自香港和世 界各地的藝術家傾力演出，為觀眾帶來近1 7 0 場精彩表演。 今年藝術節的節目多姿多彩，當代及古典音 樂、舞蹈、戲劇等不同形式的藝術表演共冶一 爐。每個節目從幕後製作到台前演出，均盡顯 精湛的藝術造詣和超凡的想像力。 我很高興知道最近完成活化的中區警署建築 群，即現在的大館古蹟及藝術館，會在兩個周 末呈獻約5 0場舞蹈表演，供公眾免費入場觀 賞。大家更有機會一起參與在大館的檢閱廣 場、監獄操場，甚至是監獄囚室進行的表演節 目。牛棚藝術村亦會打造為藝術共生創造社， 首度成為藝術節發展作品的平台，場內設有不 同創意領域的工作坊，觀眾並可以欣賞一些創 作中的作品，感受藝術家的多元創意。 除了精彩表演，藝術節亦一如以往，悉心籌備 各項教育和外展活動，致力培育本地藝術人 才。「香港藝術節青少年之友」計劃讓本地學 生有機會觀賞世界級的表演和參與各式各樣的 藝術活動。此外，藝術節亦透過後台參觀和大 師班等「加料節目」，讓觀眾與國際頂尖藝術 家互動接觸，了解節目的幕後製作過程。 衷心感謝香港藝術節團隊一直致力推動本港的 藝術發展，成績斐然。我亦感謝贊助商和捐款 者的大力支持，令每年的藝術節圓滿成功，大 獲好評。 謹祝二零一九年香港藝術節所有觀眾、參加者 和表演者可以盡情享受這次藝術之旅，留下愉 快難忘的回憶。
林鄭月娥 香港特別行政區行政長官
I am pleased to congratulate the Hong Kong Arts Festival, which turns 47 this year in grand fashion, with nearly 170 performances featuring more than 1,700 artists from Hong Kong and all over the world. This year, the Festival showcases a dazzling range of classic and contemporary music, dance, theatre and more, each produced, staged and performed with consummate artistry and imagination. I am also delighted to note that our newly revitalised Central Police Station Compound, now Tai Kwun, Centre for Heritage and Arts, is the venue for some 50 free dance performances over the course of two weekends. I am told that audiences will also have the opportunity to participate in the performances taking place at Tai Kwun’s Parade Ground, Prison Yard and even its prison cell blocks. For the first time, the Arts Festival will turn Cattle Depot Artist Village into a Creative Hub for showcasing workshops and works in progress from a variety of creative disciplines. Beyond its captivating performances, the Festival remains committed to its educational activities, outreach and development of local artists. The Young Friends of the Hong Kong Arts Festival enables local students to enjoy world-class performances and participate in a range of arts activities, while PLUS programmes bring audiences behind the scenes with some of the world’s greatest artists through backstage tours, masterclasses and more. I am grateful to the Hong Kong Arts Festival team for its continuing commitment and manifold contributions to the development of the arts in Hong Kong. I am grateful, too, to the many sponsors and donors who, each year, help make the Festival a resounding success. I wish audiences, participants and performers alike a delightful and memorable 2019 Hong Kong Arts Festival experience.
Mrs Carrie Lam Chief Executive, Hong Kong Special Administrative Region
歡迎閣下蒞臨欣賞第4 7屆香港藝術節的這場 演出。感謝您與我們一起歌頌表演藝術在舞 台上的不同季節和階段。 我們要感謝香港特別行政區政府透過康樂及 文化事務署的年度恆常撥款。這項資助對香 港藝術節每年得以成功舉辦，至關重要。多 謝香港賽馬會慈善信託基金持續的支持，為 我們致力豐富城中文化生活，打下根基。另 外要感謝眾多企業贊助商、慈善基金會以至 個人捐助者。他們的慷慨捐助，讓我們能夠 呈獻世界各地的優秀藝術家、發展新作、培 育年青觀眾，並在國際舞台上引薦本地人 才。 最重要的是感謝您前來欣賞今天的表演。香 港藝術節的成功，正是有賴觀眾的熱情和參 與。謹祝您享受藝術節今天這場演出，渡過 難忘的時光。
查懋成 香港藝術節主席
I am delighted to welcome you to this performance at the 47th Hong Kong Arts Festival. Thank you for joining in our celebration of the seasons and stages of the performing arts. I would like to extend my gratitude to the HKSAR Government, acting through the Leisure and Cultural Services Department, for its annual subvention, which is vital to the continued success of the Festival. I am also grateful to the Hong Kong Jockey Club Charities Trust, whose ongoing support is a cornerstone in our efforts to enrich the cultural calendar of the city. Thanks are also due to our many corporate sponsors, charitable foundations and individual donors, whose generous support enables us to host some of the world’s leading artists, develop new works, cultivate young audiences, and promote local talent on a world stage. Above all, I offer my warm thanks to you for joining today’s performance. The enthusiasm and engagement of our audiences is the foundation of the Hong Kong Arts Festival’s success. I sincerely hope that you will find your time spent at the Festival today memorable and enjoyable.
Victor Cha Chairman, Hong Kong Arts Festival
衷心感謝閣下蒞臨欣賞第47屆香港藝術節的演 出。 今屆藝術節以「一步一舞台」為主題。舞台， 不僅是我們呈獻新穎及經典表演的地方，更是 藝術轉化向前的關鍵。頂尖藝術家及明日之星 於舞台相遇，各展姿彩；透過忠實致敬及大膽 改編，經典劇目得以重現觀眾眼前；嶄新作品 以原創設計、技術及敍事方法，挑戰傳統舞台 的極限。 無論於哪個舞台表演，我們會繼續想像藝術世 界的無限可能，亦期望今屆表演能為閣下帶來 啟發和歡愉。另外，誠邀您參加「加料節目」 的各項活動，深入了解重點表演，令藝術節體 驗更全面。 謹代表藝術節團隊，感謝您參與香港藝術節， 支持我們的使命，為香港締造一個世界級藝術 節。
It is a pleasure and a privilege to welcome you to this performance at the 47th Hong Kong Arts Festival. This year, we celebrate artists and artworks “At Every Stage”. Not only do we spotlight exhilarating programmes at stages old and new across Hong Kong, but also reflect on the stage as a process of transformation. Leading artists at the peak of their careers perform alongside the next generation of rising stars. Classic repertoire is reinvented through brave homages and boldly experimental retellings, and the original designs, technologies and storytelling modes of new works crash through the boundaries of the traditional stage. I hope that this and many other performances at the 47th HKAF will provoke, inspire and delight you, and that in the course of viewing works at every stage, we may continue to envision the myriad possibilities of the arts. As part of your Festival experience, I would also recommend you join the many PLUS performances, workshops and events that have been designed to bring insight into our core programmes. Together with the entire team, I would like to thank you for your support of the Hong Kong Arts Festival, which sustains us in our mission to bring a world-class arts festival to Hong Kong.
何嘉坤 香港藝術節行政總監
Tisa Ho Executive Director, Hong Kong Arts Festival
香港藝術節 扎根香港的國際藝壇盛事 香港藝術節於 1973 年正式揭幕，是國際藝壇中重要的 文化盛事，於每年 2、3 月期間呈獻眾多優秀本地及國 際藝術家的演出，以及舉辦多元化的「加料」和教育 活動，致力豐富香港的文化生活。 香港藝術節是一所非牟利機構，2019 年第 47 屆藝術節 的年度預算約港幣一億三千六百萬，當中香港特區政 府的基本撥款佔總收入的近 13%，接近 6% 來自政府 新增加的五年限期額外撥款，另外約 28% 需來自票房 收入，逾 33% 則需依賴來自各大企業、熱心人士和慈 善基金會的贊助和捐款。預計餘下的大約 20% 則來自 其他收入，包括政府針對捐款和贊助收入而提供的配 對資助。 香港藝術節每年呈獻眾多國際演藝名家精采多元的演 出，例如 *： •歌劇：巴伐利亞國立歌劇院、萊比錫歌劇院、莫斯 科大劇院、聖彼得堡馬林斯基劇院 •中國戲曲：中國國家京劇院、河北梆子劇院、上海 張軍崑曲藝術中心、江蘇省蘇州崑劇院、浙江小百 花越劇團 •古典音樂：塞西莉亞．芭托莉、列卡杜．沙爾、趙 成珍、古斯塔沃．杜達美、菲力普．格拉斯、馬友友、 丹尼斯．馬祖耶夫、安娜．涅翠柯、詹安德列亞． 諾斯達、小澤征爾、甘拿迪．羅傑斯特汶斯基、克 里斯蒂安．泰利曼、倫敦交響樂團、NHK 交響樂團、 皇家阿姆斯特丹音樂廳樂團、柏林廣播電台合唱團、 萊比錫聖多馬合唱團、維也納愛樂樂團 •爵士樂及世界音樂：波比．麥非年、尤蘇．恩多爾、 艾斯佩蘭薩．斯伯丁、Orquesta Buena Vista Social Club、粉紅馬天尼 •舞蹈：米高．巴里殊尼哥夫、蕭菲．紀蓮、艾甘．漢、 美國芭蕾舞劇院、雲門舞集、漢堡芭蕾舞團 – 約翰． 紐邁亞、紐約市芭蕾舞團、巴黎歌劇院芭蕾舞團、翩 娜．包殊烏珀塔爾舞蹈劇場
2019 年藝術節預計收入來源 （約港幣一億三千六百萬） Estimated Income Sources for the 2019 HKAF (Approximately HK$136 Million)
贊助和捐款 Sponsorship & Donations
over 逾
•戲劇：彼得．布祿克、蜷川幸雄、羅柏特．威爾遜、 柏林劇團、中國國家話劇院、皇家莎士比亞劇團 •大型特備節目：《藝裳奇幻世界》、星躍馬術奇藝 坊 •戶外節目：《聲光園》、《幻光動感池》、《聲光頌》 香港藝術節積極與本地演藝人才合作，並致力為新晉 藝術家提供展示才華的平台。藝術節至今委約及製作 逾 2 0 0 套本地全新創作，包括戲劇、室內歌劇、音樂 和舞蹈作品，近年開始同步出版新作劇本，不少製作 更已在香港及海外多度重演。近年的藝術節新製作包 括粵劇《百花亭贈劍》、《香港家族》三部曲、《世紀． 香港》音樂會、《論語》、《炫舞場》、《大同》、《金 蘭姊妹》、《爆蛹》、《野豬》、《聖荷西謀殺案》等。 香港藝術節多年來與知名海外藝術家及團體聯合製作 不少優秀作品，當中包括由香港藝術節、香港歌德學 院及翩娜．包殊烏珀塔爾舞蹈劇場聯合製作的《抹窗 人》、由倫敦老域劇院、布魯克林音樂學院與尼爾街 製作公司製作、香港藝術節為聯合委約機構之一的「橫 貫計劃」之《暴風雨》及《李察三世》、由香港藝術 節及上海國際藝術節聯合委約的《青蛇》、三藩市歌 劇院與香港藝術節聯合製作的《紅樓夢》等。 香港藝術節大力投資下一代的藝術教育。「青少年之 友」成立 27 年來，已為逾 750,000 位本地中學生及大 專生提供藝術體驗活動。藝術節近年亦開展多項針對 大、中、小學生的藝術教育活動，包括由國際及本地 藝術家主持的示範講座及工作坊、學生展演、演前講 座、公開彩排、以及欣賞藝術節演出。同時，通過「學 生票捐助計劃」，藝術節每年提供約 1 0 , 0 0 0 張半價學 生票。 香港藝術節每年主辦一系列多元化並深入社區的「加 料節目」，例如電影放映、示範講座、大師班、工作坊、 座談會、後台參觀、展覽、藝人談、文化導賞團等， 鼓勵觀眾與藝術家互動接觸。
33% around 約
20% nearly 近 6% nearly 近 13%
around 約
28%
票房收入 Box Office （2019 年 1 月更新 Updated January 2019）
其他收入（包括按捐款和贊助 收入可望獲得的政府配對資助 ) Other Income (Including Possible Government Matching Grant for Sponsorship and Donation Income) 政府五年限期額外撥款 Government's Time-limited Addition Funding (for 5 years)
政府的基本撥款 Government Baseline Funding
Hong Kong Arts Festival A Major International Arts FestivaI ln, Of and For Hong Kong HKAF, launched in 1973, is a major international arts festival committed to enriching the cultural life of the city by presenting leading local and international artists in all genres of the performing arts as well as a diverse range of “PLUS” and educational events in February and March each year. HKAF is a non-profit organisation. Secured government baseline funding represents about 13% of the 2019 Festival’s HK$136 million budget, with another nearly 6% specially provided by the Government as time-limited additional funding for five years. Around 28% of the Festival’s income needs to come from the box office, and over 33% from sponsorship and donations made by corporations, individuals, and charitable foundations. It is anticipated that the remaining 20% will come from other revenue sources including the Government’s matching scheme, which matches income generated through private sector sponsorship and donations. HKAF has presented top international artists and ensembles across multiple genres, such as*: • Western Opera: Bavarian State Opera, Oper Leipzig, The Bolshoi Theatre, The Mariinsky Theatre • Chinese opera: China National Peking Opera Company, Hebei Clapper Opera Troupe, Shanghai Zhang Jun Kunqu Art Center, Suzhou Kunqu Opera Company of Jiangsu, Zhejiang Xiaobaihua Yue Opera Troupe • Classical music: Cecilia Bartoli, Riccardo Chailly, SeongJin Cho, Gustavo Dudamel, Philip Glass, Yo-Yo Ma, Denis Matsuev, Anna Netrebko, Gianandrea Noseda, Seiji Ozawa, Gennady Rozhdestvensky, Christian Thielemann, London Symphony Orchestra, NHK Symphony Orchestra, Royal Concertgebouw Orchestra, Rundfunkchor Berlin, Thomanerchor Leipzig, Vienna Philharmonic Orchestra • Jazz and world music: Bobby McFerrin, Youssou N'Dour, Esperanza Spalding, Orquesta Buena Vista Social Club, Pink Martini • Dance: Mikhail Baryshnikov, Sylvie Guillem, Akram Khan, American Ballet Theatre, Cloud Gate Dance Theatre, The Hamburg Ballet–John Neumeier, New York City Ballet, Paris Opera Ballet, Tanztheater Wuppertal Pina Bausch • Theatre: Peter Brook, Yukio Ninagawa, Robert Wilson, Berliner Ensemble, National Theatre of China, Royal Shakespeare Company
• Large-scale special events: World of WearableArt, Zingaro • Outdoor events: Power Plant, Super Pool, Chorus HKAF actively collaborates with Hong Kong’s own creative talent and showcases emerging local artists. Over the years, HKAF has commissioned and produced over 200 local productions across genres including theatre, chamber opera, music and contemporary dance, many with successful subsequent runs in Hong Kong and overseas. Recent HKAF productions include the Cantonese Opera - Pavilion of a Hundred Flowers, A Floating Family–A Trilogy, Hong Kong Odyssey, Chinese Lesson, Danz Up, Datong–The Chinese Utopia, The Amahs, Blast, Wild Boar and Murder in San Jose, to name a few. HKAF frequently partners with renowned international artists and institutions to produce exceptional works, such as Der Fensterputzer (The Window Washer) co-produced by HKAF, Goethe-Institut Hong Kong and Tanztheater Wuppertal Pina Bausch, Richard III and The Tempest produced by The Old Vic, BAM and Neal Street under “The Bridge Project” with HKAF as a co-commissioning institution, Green Snake cocommissioned with Shanghai International Arts Festival, and Dream of the Red Chamber co-produced with San Francisco Opera. HKAF invests heavily in arts education for young people. Over the past 27 years, our “Young Friends” scheme has reached over 750,000 local secondary and tertiary school students. A variety of arts education projects serving primary, secondary, and tertiary school students have been launched in recent years, featuring activities such as student showcases, pre-performance talks, open rehearsals, opportunities to attend Festival performances, as well as in-school workshops and lecture demonstrations led by international and local artists. Donations to the “Student Ticket Scheme” also make available approximately 10,000 half-price student tickets each year. HKAF organises a diverse range of “Festival PLUS” activities in community locations each year to enhance engagement between artists and audiences. These include films, lecture demonstrations, masterclasses, workshops, symposia, backstage visits, exhibitions, meet-the-artist sessions, and guided cultural tours.
誠邀贊助或捐助第 47 屆香港藝術節；詳情請與藝術節發展部聯絡。 To find out more about sponsorship opportunities and donation details for the 47th Hong Kong Arts Festival, please contact the HKAF Development Department. 電郵 Email: 直綫 Direct Lines: 網頁 Website:
dev@hkaf.org (852) 2828 4910/11/12 www.hk.artsfestival.org/en/support-us
* 有關香港藝術節的過往節目，可參考以下網頁 Details of past HKAF programmes can be found at www.hk.artsfestival.org/en/about-us/past-programmes/past-programmes-2018.html
Presents
法國世紀樂團
白遼士150 Les Siècles
BERLIOZ 150 指揮：麥森．帕斯高 Conductor: Maxime Pascal
香港文化中心音樂廳 Concert Hall, Hong Kong Cultural Centre
2 3 月 MAR
3 3月 MAR
演出長約 2 小時 10 分鐘，包括一節中場休息 Approximately 2 hours 10 minutes including one interval 節目資料 p19 for programme details 演出長約 1 小時 45 分鐘，包括一節中場休息 Approximately 1 hour and 45 minutes including one interval 節目資料 p29 for programme details
敬請關掉所有響鬧及發光裝置。 Please switch off all sound-making and light-emitting devices. 網上追蹤香港藝術節 Follow the HKArtsFestival on
請勿擅自攝影、錄音或錄影。 Unauthorised photography or recording of any kind is strictly prohibited.
HKartsfestival
本場刊採用環保紙張印刷。This programme is printed on environmentally friendly paper.
www.hk.artsfestival.org
法國世紀樂團
Les Siècles
2 0 0 3 年夏天，弗朗索瓦 - 澤維爾．羅特集合了
生古典音樂獎。2017 年，樂團與樂滿地唱片公
法國頂級樂團的傑出年輕樂手，組成了法國世
司合作錄製拉威爾音樂系列，首兩張專輯《達
紀樂團，旨在為演奏曲目、音樂會形式和性質
芙妮與克羅埃》及《鵝媽媽》獲頒多個獎項。
建立新方向。
2018 年，樂團憑《達芙妮與克羅埃》取得留聲
法國世紀樂團收藏的大量古樂器橫跨巴羅克、 古典、浪漫和現代時期，他們演奏的音樂也一 樣涵蓋不同時期。法國世紀樂團是少有同時以 古樂器和現代樂器演奏的樂團，他們會為不同 的曲目選擇適當的樂器演出。樂團靈活的復古 演繹風格讓他們的節目安排充滿創意。 弗朗索瓦 - 澤維爾．羅特和法國世紀樂團的樂手 在法國和海外都令人留下深刻印象，是廿一世 紀樂團的典範。近年樂團亦積極參與海外演出。
機古典音樂大獎，並憑專輯《幻影》與莎賓． 杜菲維及亞歷山大．薩洛共同獲頒法國音樂之 光古典音樂大獎。2018 年的德布西專輯《遊戲 / 夜曲》獲《星期日泰晤士報》及《急板古典》 選為年度唱片，亦是《英國廣播公司音樂雜誌》 和《留聲機》的編輯之選。 法國世紀樂團的樂手在學校、醫院、老人院和 監獄等機構參與教育計劃。他們亦參與埃納青 年樂團、白遼士青年歐洲樂團、上法蘭西和法 蘭西島大區的演出；曾協助巴黎圖索醫院兒科
法國世紀樂團是駐法國埃納省及蘇瓦松音樂之
血液腫瘤科舉辦「在醫院聽音樂」計劃；並駐
城的藝術家，定期於巴黎、塞納爾、尼姆、亞
克拉馬爾小圓型圖書館參與教育活動。
眠、卡昂、魯瓦約蒙、科特 - 聖安德烈、艾克斯 普羅旺斯、倫敦、阿姆斯特丹、柏林、不萊梅、 布魯塞爾、布加勒斯特、威斯巴登、科隆、盧 森堡、東京和埃森演出。
法國世紀樂團是電視節目《急板》的創作者， 也是節目重點介紹的藝術家，該節目自 2007 年 起於法國電視二台播出，觀眾達數百萬，亦在 國家教育文獻中心支持下製成影碟。
法國世紀樂團灌錄的史達拉汶斯基三部芭蕾舞 作品（《火鳥》、《彼得魯斯卡》和《春之祭》） 獲 2 01 5 年德國唱片評論家年度獎和荷蘭愛迪
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Caen, Royaumont, La Côte-Saint-André, Aix-enProvence, London, Amsterdam, Berlin, Bremen, Brussels, Bucarest, Wiesbaden, Köln, Luxembourg, Tokyo and Essen.
©Michele_CROSERA
Formed in the summer of 2003 by FrançoisXavier Roth, Les Siècles comprises outstanding young players pooled from the very finest French ensembles. Roth’s founding ambition was for his orchestra to offer a new approach, not only to repertoire but also to the nature of the concert form. With a vast period-instrument collection at its disposal spanning the baroque, classical, romantic and modern eras, the orchestra’s repertoire is notably wide in range. Les Siècles is one of a small number of ensembles to employ period and modern instruments, playing each repertoire on appropriate instruments. Its flexible and historically informed work delivers a unique strand of creative programming. François-Xavier Roth and the musicians of Les Siècles have made a distinctive mark at home and abroad, presenting an orchestra for the 21st century. Its global profile has been magnified in recent seasons. Les Siècles are in residency in the Aisne department in the Hauts-de-France region, are associated artists at La Cité de la Musique de Soissons and give regular concerts in Paris, Sénart, Nîmes, Amiens,
Their recordings of three Stravinsky ballets (L’Oiseau de Feu, Petrouchka and Le Sacre du Printemps) received the Jahrespreis 2015 der Deutschen Schallplatten Kritik and won the Edison Klassiek award in Holland. In 2017, Les Siècles began work with Harmonia Mundi on a compilation of Ravel music; the first two recordings, Daphnis & Chloé and Ma Mère l’Oye, received many awards. In 2018, they won the Gramophone Classical Music Award for Daphnis & Chloé and the Victoire de la Musique Classique with Sabine Devieilhe and Alexandre Tharaud for their Mirages album. Their 2018 Debussy disc, Jeux/Nocturnes, was elected Disc of the Year by the Sunday Times and Presto Classical and Editor’s Choice by BBC Music Magazine and Gramophone. The musicians of Les Siècles participate in educational programmes in schools, hospitals, retirement homes and prisons. The orchestra is a partner of Jeune Symphonie de l’Aisne, Jeune Orchestre Européen Hector Berlioz and Demos in Hauts-de-France and Île-de-France. The orchestra helped initiate the Music in Hospitals project for Trousseau Hospital’s pediatric haematology-oncology service in Paris and in Beauvais Hospital. They also created an educational residency in La Petite Bibliothèque Ronde de Clamart. Les Siècles are also creators and featured musicians of the TV show Presto, which has been broadcast to millions of viewers on France 2 and edited into a DVD with the support of Centre National de Documentation Pédagogique.
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白遼士：敢於幻想的做夢者
Berlioz, the great dreamer
1 8 44 年，白遼士在他的著作中，幻 想着一個音樂烏托邦。這個烏托邦，是在 五百年後的未來，地點位於德國倚於山旁的一 個村莊。「村內的所有男女和小孩，都將唱歌、 演奏和所有關於音樂藝術的事情，置於首位。」 這個幻想中的烏托邦，稱為「Euphonia」。
In 1844, Hector Berlioz wrote of an imagined musical utopian society 500 years into the future, nestled amongst the slopes of Germany's mountainous countryside. “All of the men, women and children there hold singing, instrumentalism and all musical arts in the highest regard.” This utopia of the imagination, he called “Euphonia”.
白遼士畫像，約 1845 年由奧古斯特．普林佐弗繪畫 Lithograph of Hector Berlioz by August Printzhofer, circa 1845.
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「學習解剖！把身體割開！我反倒想將我的 身體和靈魂，投進偉大的音樂，正是我現在 開始感受到的音樂！」白遼士對於自己被安 排好的出路，感到憤慨。 白遼士 18 0 3 年生於距離巴黎四百多里的小 鎮科特 - 聖安德烈。他的父親是科特 - 聖安 德烈有名望的醫生、有地位的市民。白遼士 的教育，幾乎都在父親的掌管之下。1823 年，白遼士父母勸說他放棄音樂，他卻將作 品投到羅馬大獎，結果落敗而回，但他還是 堅持音樂之路。二十三歲時，白遼士不顧家 人反對，入讀巴黎音樂學院；差不多同一時 候，他的父親把他的零用錢撤掉。 白遼士沒有對父親懷恨在心。沒有零用錢的 日子，生活的確甚為艱苦。但是，他的父親 是開啟知識大門的智者：父親教導他拉丁文 經典、地理、歷史、文學、閱讀樂譜及吹奏 長笛。白遼士年少時，相當喜歡讀書，特別 喜愛經典文學與旅遊書籍。他生活在寧靜的 科特 - 聖安德烈，神遊於書本的外國事物， 是位遨遊廣闊幻想世界的年輕人。 白遼士的音樂夢，在年少之時，已經蘊釀得 熾熱。 白遼士在進入音樂學院前，沒有正式接受音 樂訓練。他曾向父親學習六孔的木簫，亦學 過長笛和結他，更讀過拉摩的著作《和聲 法》，就是從沒有接觸過鋼琴。沒有以雙手 演奏過鋼琴的和弦，怎能知道甚麼音應疊在 甚麼音之上？
“Study anatomy! Dissect! Take part in horrible operations instead of giving myself body and soul to music, sublime art whose grandeur I was just beginning to perceive!” In his memoirs, Berlioz thus recounted his fury at being compelled to follow in the footsteps of the family trade. Hector Berlioz was born in 1803 some 200 kilometres outside of Paris in the small town of La Côte-SaintAndré. His father, Louis, was a well-regarded provincial doctor, under whose guidance young Hector’s education was strictly controlled. In 1823, when Berlioz’s father urged him to quit music, the young composer instead entered his compositions into the prestigious Prix de Rome, and though he initially met with failure, he determined to stay on the musical path. Not long after, paying no heed to his family’s objections, the 23-yearold Berlioz entered into the Paris Conservatory; almost immediately, his father cut him off financially. But Berlioz bore no resentment towards his father, though life was indeed hard in his days of relative poverty. His father was a wise man who had once opened the gates of knowledge to young Berlioz— under his instruction, Berlioz had studied Latin, geography, history and literature and learned to read musical scores. He also cultivated a love of reading, particularly for the classics and travelogues, which inspired him, in that quiet township, to imagine adventures to far-off lands and to construct his own vast, fanciful world. In those impassioned days of youth, Berlioz’s dreams of music were already brewing at full steam. Prior to entering the conservatory in adulthood, however, he had not received any formal music training. His father taught him to play the flageolet; he’d studied flute and guitar and had read Jean-Philippe Rameau’s Treatise on Harmonies. Yet Berlioz had simply never studied the piano, an instrument considered critical to the development of musicians at the time. Without a familiarity with the two-handed chords of the piano, how could he know which notes should be paired together?
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不過，他從聽到的音樂中，學習音樂的法則。
1 8 2 1 年，他抵達巴黎，立時迷上了歌劇。他在 圖書館找來葛路克的樂譜，抄寫到自己的記事 本上。於是，他早年的作品，大都像歌劇般有 着龐大的陣容。他幾次投稿到羅馬大獎，都是 清唱劇。 同樣令白遼士着迷的，是莎士比亞。1827 年，
Fortunately, Berlioz was helped immensely by his talent for learning musical rules from the music to which he listened. When he arrived in Paris in 1821, he became captivated with the opera, and devoted himself to hand-copying the compositions of Christoph Willibald Gluck from the local library. Under this subtle influence, his early works took on an air of operatic grandeur—several of his early submissions to the Prix de Rome were cantatas.
他欣賞了由英國劇場到巴黎演出的《哈姆雷特》 與《羅密歐與茱麗葉》。雖然不懂英語，卻對 莎士比亞史詩中的華麗與戲劇張力印象深刻。 兩晚過後，白遼士愛上了莎士比亞，此生與文 學巨匠的作品結下不解緣。與此同時，他愛上 了擔任女主角的演員。 生於愛爾蘭的史密遜二十七歲時首次來到巴黎 演出。她漂亮動人，在台上的動作更是自然而 具說服力。白遼士追求史密遜不果，後來將他 對單戀對象的思戀，全部傾注於一首作品之中： 《幻想交響曲》。這部想像力及戲劇性豐富的
Of the other great creators that captivated Berlioz’s attention was William Shakespeare. In 1827, he saw productions of Hamlet and Romeo and Juliet touring from Ireland to France. Although he could not understand a word of English, he was deeply moved by the magnificence and theatrical force of Shakespeare’s poetry. After two nights of theatre, Berlioz fell in love with Shakespeare, forever entwining his life with the works of literary masters; he also fell in love with the company’s leading lady. Irish actress Harriet Smithson was 27 at the time of her Paris debut. In person, she was beautiful and affecting; onstage, her movements were as natural as they were persuasive. Although Berlioz was only one of many in the crowd, he dared to pursue his passions for her without success and instead channelled his sentiments of unrequited love instead into his first major work, Symphonie fantastique. This richly imaginative and dramatic symphony, as well as its madly infatuated idée fixe, inspired later composers like Richard Wagner, who would also link melody closely to character and plot. With Symphonie fantastique’s premiere in 1830 and their son’s achievement of hard-won success at the Prix de Rome, Berlioz’s parents at last accepted his musical career. Riding on the coat-tails of this success, Berlioz also made connections with many fellow musicians and composers—among his most important allies was Franz Liszt. Following their first meeting, Liszt would continue to support Berlioz and enthusiastically promote his music: Liszt transcribed Berlioz’s work for piano, conducted his works in Germany, and corresponded with him
史密遜飾演奧菲利亞，約 1827 年 Harriet Smithson as Ophelia, circa 1827.
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約瑟夫．克里胡貝爾《與李斯特的午間音樂會》，1846 年，由法國國家圖書館提供（圖畫中間二人分別是白遼士和李斯特） Joseph Kriehuber. Ein matinée bei Liszt. 1846. Courtesy Bibliotheque nationale de france. (Berlioz and Liszt, centre)
交響曲，以及當中那迷戀的樂思，為後來的作 曲家帶來啟發，包括把旋律和角色劇情緊緊連 結的華格納。
1 8 3 0 年，《幻想交響曲》首演，加上白遼士終 於贏得羅馬大獎，令他的家人終於肯定他的音 樂路。交響曲的首演，讓他結織了不少音樂上 的同路人。其中最重要的一位盟友，是李斯特。 兩人相遇以後，李斯特不斷支持白遼士，更積 極推廣他的音樂。他改編白遼士的作品予鋼琴 演奏，並在德國指揮白遼士的作品；他們通信 從不間斷，有時更是情感的支援。 白遼士對史密遜的單戀持續約四年，直至 1832 年才出現突破。在友人的穿針引線下，史密遜
regularly, at times extending emotional support. Berlioz’s period of unrequited love for Smithson lasted for approximately four years; only in 1832 did he achieve a break-through. With a friend as go-between, Smithson at last heard Berlioz’s work and quickly agreed to meet the composer; the pair was married in 1834. However, their fairytale romance was not to last. Berlioz’s fame was flourishing; Smithson’s, however, was fading. Their relationship would gradually cool, and in 1844, the couple separated. Smithson’s health progressively declined to a state of stroke-induced paralysis, and although Berlioz continued to care for her through old age, he had already taken up residence with the soprano Marie Recio. After Smithson’s death in 1854, Recio and Berlioz at last married.
才知道《幻想交響曲》的創作對象正是自己。 她不久與白遼士見面，墮入愛河，並且在 1834 年步入教堂。可是，童話式的愛情，卻漸漸凋 零。白遼士的聲譽日隆，史密遜的卻漸走下坡。 兩人的關係亦慢慢冷卻，至 1844 年正式分開。
Berlioz’s later operatic ambitious were less successful than his early symphonic ones. After his first opera, Benvenuto Cellini, met with a cool reception in 1838, he nearly gave up the dream of composing opera entirely; only when he later received the
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史密遜的身體隨着年月衰壞，最後因癱瘓而飽 受痛苦。白遼士雖然一直照顧她直至終老，可 是他的心早已託付給另一位女高音雷西奧。他 們在史密遜逝世後結婚。 白遼士的歌劇作品不如他早期的交響樂般成功。
1838 年，他的第一套歌劇《班維努托．切利尼》 慘淡收場，讓他幾乎放棄寫歌劇的念頭。直至 後來他得到李斯特的好友兼戀人嘉露蓮公主鼓 勵，再度執筆。這次他的嘗試更為大膽。他花 了三年時間創作《特洛伊人》這部「比其他作 品更偉大與尊貴」的歌劇。可是，作品在彩排 時因驚人的長度而不斷刪減，加上導演與白遼 士並不咬弦，演員的水準也不如人意。所以， 在 1860 年後的數年，白遼士只能痛苦地安排它 以片段形式在不同劇院上演。 白遼士對於巴黎，同樣是又愛又恨。他覺得巴 黎未必懂得欣賞他。白遼士的童年，在拿破崙 征服歐洲的戰火中渡過。《幻想交響曲》首演 那一年，正是巴黎爆發七月革命之時。巴黎以 至法國動亂不休。白遼士一直希望不涉世事， 鍾愛自然與想象中的他鄉。
1 8 6 4 年，白遼士寫道：「我已經六十一歲了， 希望、幻想、希冀與理想，統統成為過去。我 對人愚昧與卑劣的鄙視和對現實的殘酷的厭惡， 從沒如此強烈。死亡，你甚麼時候到來？」 由幻想到現實，白遼士經歷了充滿矛盾的一生。 他無束縛的幻想，解開音樂的無窮可能。他的 聲音新穎，即使是當今，也是新鮮得令人詫異。 這些新可能，或許只有如白遼士一般自由馳聘 於想像世界的人，才敢於做到。可是，與他同 時代的人並不太認同白遼士這位夢遊人。
1 8 6 9 年，白遼士黯然在巴黎辭世。他被葬在史 密遜與雷西奧兩位妻子的身旁。
encouragement of Liszt’s friend and lover, Princess Carolyne zu Sayn-Wittgenstein, did he try again. His next attempt was his most daring project yet: three years in the making, Les Troyens was what he termed “greater and nobler than anything done hitherto”. Yet the work required abridgement during rehearsals due to its shockingly long duration, Berlioz and the director suffered from a fierce difference of opinion, and the skill of the actors left one wanting. Thus, in the years following 1860, Berlioz could only bitterly arrange for excerpts of the performance to be played in alternate theatres. Throughout his life, Berlioz retained a love-hate relationship with the city of Paris. He believed that Paris could not learn to appreciate him, nor he it. Berlioz’s birth had coincided with the Napoleonic Wars; Symphonie fantastique premiered during the opening days of the French Revolution. He preferred to distance himself from the worldly matters of France’s constant turmoil, turning instead to nature and to the cities of his imagination. In 1864, Berlioz wrote: “I am in my 61st year— past hopes, past illusions, past high thoughts and lofty conceptions. My contempt for the folly and baseness of mankind, my hatred of its atrocious cruelty, have never been so intense. And I say hourly to Death: ‘When you will.’ Why does he delay?” From dreams to reality, Berlioz experienced a life full of contradictions. His boundless fantasies opened up the infinite possibilities of music, the novelty of which astonishes audiences even today. Perhaps only someone so freely engaged in re-imagining the world as Berlioz could dare to uncover these new possibilities. And yet, this extraordinary dreamer never fully attained the acknowledgement of his contemporaries. In 1869, Berlioz passed away quietly in Paris. He was buried next to his two wives, Harriet Smithson and Marie Recio.
胡銘堯
Dennis Wu
節錄自 2017 年 11 月康樂及文化事務署
Excerpt from text presented at the LCSD “Journeys through Music” Lecture Series in November 2017.
「音樂遊蹤」講座系列之專題文章
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公司简介 浦銀國際控股有限公司（簡稱“浦銀國際”）是上海浦東發展銀行 股份有限公司（簡稱“浦發銀行”）全資擁有的金融服務機構， 2015年3月在香港開業，是浦發銀行實施國際化、集團化戰略的重 要平台。浦銀國際設立了多家香港持牌子公司、多個離岸和在岸基 金架構。圍繞集團總體戰略部署，抓住行業發展機遇，浦銀國際重
业务范围及定位 浦銀國際旗下子公司獲得了香港證監會頒發的第一類（證券交易）、第四類（就 證券提供意見）、第六類（就機構融資提供意見）以及第九類（資產管理）牌照， 作為集團的國際投融資服務平台、資產管理服務平台和國際化戰略的重要組成部
海外投融资 业务平台
分，浦銀國際致力發展多元化金融服務，旨在通過為客戶提供更為領先、協同、 多層次、全方位的金融服務，滿足客戶新的多元化需求。 全球资产管理
国际企业融
直投平台
资服务平台
浦发银行介绍 浦發銀行（股票交易代碼：600000）是一家全國性股份制商業銀行，總行設在上海。目前註冊資本 金293.52億元。良好的業績、誠信的聲譽，使浦發銀行成為中國證券市場中備受關注和尊敬的上市 公司。 秉承“篤守誠信，創造卓越”的核心價值觀，浦發銀行積極探索金融創新，資產規模持續擴大，經營 實力不斷增強。上市以來，浦發銀行連續多年被《亞洲週刊》評為“中國上市公司100強”。 2018年7月，英國《銀行家》雜誌發佈“全球銀行1000強”排名，根據核心資本，浦發銀行位列全 球第25位，居上榜中資銀行第8位； 同月，美國《財富》雜誌發佈“財富世界500強”排名，浦發銀 行位列第227位，居上榜中資企業第48位、中資銀行第7位，表現出良好的綜合競爭優勢。
2.3.2019 Louis-Hector Berlioz
白遼士
(1803-1869)
Symphonie Fantastique, Op 14
《幻想交響曲》，作品 14 I. 白日夢─激情
I. Rêveries – Passions (Daydreams – Passions)
II. 舞會
II. Un bal (A ball)
III. 田園景致
III. Scène aux champs (Scene in the Countryside)
IV. 斷頭台進行曲
IV. Marche au supplice (March to the Scaffold)
V. 女巫的安息日
V. Songe d’une nuit de sabbat (Witches’ Sabbath) — 中場休息 Interval —
《雷里奧，或稱重拾人生》，作品 14b
Lélio, ou le retour à la vie, Op 14b
I. 漁夫
I. Le pêcheur (The Fisherman)
II. 幽靈合唱
II. Chœr des ombres (Chorus of Phantoms)
III. 盜賊之歌
III. Chanson de brigands (Song of the Brigands)
IV. 祝福之歌
IV. Chant de bonheur (Song of Bliss)
V. 風弦琴─回憶
V. La harpe éolienne – souvenirs (Aeolian Harp – Memories)
VI. 莎士比亞《暴風雨》幻想曲
旁白
丹尼爾．梅斯基
VI. Fantaisie sur la Tempête de Shakespeare (Fantasy on Shakespeare’s Tempest) Narrator Daniel Mesguich
男高音 米高．史莫活
Tenor
男中音 雷內．拉莫斯．普米爾
Baritone René Ramos Premier
合唱
Chorus
Die Konzertisten
是晚演出曲目及次序或有更改
Michael Smallwood Die Konzertisten
Pieces and their order of performance are subject to change
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藝術絕不止於劇場或舞台，而是能延伸至生活的每個小節。無論您是藝術節的忠實擁躉、藝術 愛好者或年輕藝術家，PLUS誠邀您透過一系列老少咸宜的節目與特備活動，一起探索與體驗 香港藝術節「演出之外，更多精采！」 PLUS extends your festival experience to more than what you see on stage. Experienced festivalgoers, newcomers, budding artists, and the young and old alike will be delighted that there are "More than Great Performances" at the Hong Kong Arts Festival!
萊比錫歌劇院《歌劇探秘同樂日》 Oper Leipzig - Opera Adventure Day ���童樂� 兒童合唱團五天工作坊
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Children‘s Choir
Leipzig Music Trail
Workshop (5 Day) : Sing,
Exhibition
Move and Have Fun 25/2 - 1/3 一至五 Mon - Fri 4:30 - 6:00pm (2/3 演出 performance) 香港文化中心 HK Cultural Centre
⯝顥 F R E E
香港文化中心大堂 Foyer, HK Cultural Centre
PLUS兒童合唱團 大堂音樂會
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Festival PLUS Children's
Workshop
Choir Foyer Performance
⯝顥 F R E E
28/2 - 3/2 四至日 Thu - Sun 12:00nn - 8:00pm
"We PLAY" Theatre
2/3 六 Sat 3:30 - 4:15pm
2/3 六 Sat I. 12:00nn - 1:00pm II. 3:00 - 4:00pm
香港文化中心大堂 Foyer, HK Cultural Centre
香港文化中心 HK Cultural Centre
報名及更多加料節目詳情請瀏覽 To learn more about PLUS events, please visit: www.hkartsfestivalplus.org
© Jean Pierre Gilson
藝術節加料節目
演前講座 Pre-performance Talk
2.3（六 Sat）7:15–7:45pm Podium Workshop, Hong Kong Cultural Centre
香港文化中心平台工作室 指揮麥森．帕斯高主講《幻想交響曲》演前講座
Maxime Pascal, conductor, speaks on Symphonie fantastique
英語主講
In English
更多加料節目詳情 More Festival PLUS
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《幻想交響曲》，作品 14
Symphonie fantastique, Op 14
劃時代的作曲家白遼士在近一百五十年前與世 長辭；法國世紀樂團則在年輕指揮家麥森．帕 斯高領導下，在本屆香港藝術節演出兩場白遼 士專場音樂會。第一場曲目除了作曲家最著名 的作品《幻想交響曲》外，還選配了《雷里奧， 或稱重拾人生》─其實按白遼士的構思，後者 原是《幻想交響曲》的續篇，可是今時今日卻 甚少演出。
1 8 3 0 年， 巴 黎 爆 發 革 命；《 幻 想 交 響 曲 》 也 在同一年問世，實在適合不過。白遼士當時才 二十六歲，竟然能構思出如此獨特的音樂世界， 後來甚至成為浪漫主義的里程碑，說來幾乎不 可思議。當年僅為貝多芬逝世後三年，白遼士 已經將交響樂風格推往驚人的新路向。即使時 至今日，樂曲仍能令觀眾大感震撼。 事實上，當時白遼士的想法深受貝多芬影響； 同時，他也從自身經歷取材，將《幻想交響曲》 的副題定為「一個藝術家生命中的插曲」。利 用標題音樂來敘事，這個意念本身並非前無古 人，可是白遼士卻更上一層樓，令交響曲中的 主觀情感強烈得多：樂曲既是作曲家自傳式懺 悔的骨幹，也反映出他對理想女性的渴求─還 包括這種渴求帶來的惡果。
1 8 2 7 年，白遼士為了愛爾蘭女演員哈里雅特． 史密遜神魂顛倒。那時史密遜於巴黎巡迴演出， 在 莎 劇 中 飾 演 女 主 角（ 例 如 茱 麗 葉 和 奧 菲 利 亞），演出令白遼士感動不已。起初史密遜拒絕 了白遼士，因此作曲家就將他對史密遜（及其 他追求對象）的激情統統注入《幻想交響曲》。 令人詫異的是，幾年後史密遜竟然答應嫁給白 遼士；可是她的演藝事業和婚姻都同樣觸礁， 最後落得沮喪的離婚收場。
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With their young conductor Maxime Pascal, Les Siècles devotes both of its programmes at the Hong Kong Arts Festival to the phenomenon known as Hector Berlioz, who died almost exactly 150 years ago. This first evening combines this revolutionary composer’s most famous work, the Symphonie fantastique, with one he envisioned as a sequel but that is little heard today: Lélio, or The Return to Life. It’s almost inconceivable how Berlioz, only 26 when he composed Symphonie fantastique— appropriately, in 1830, a year of revolution in Paris—could imagine a musical world so original that it would become a defining landmark of Romanticism. A mere three years after Beethoven’s death, Berlioz pushed the symphonic genre into startling new directions. This score is still capable of shocking audiences today. Beethoven was indeed a key influence on Berlioz’s thinking at the time. At the same time, the Frenchman drew on his personal life, subtitling the Symphonie fantastique “An Episode in the Life of an Artist”. The idea of programme music that conjures a narrative was by no means unprecedented, but Berlioz brought it up to a new notch of subjective intensity. Here, the symphony provides a framework for autobiographical confession. Berlioz projects his longing for the ideal woman—along with the disturbing consequences of that longing. In 1827, Berlioz had become obsessed with an Irish actress, Harriet Smithson, whose performances of the roles of such Shakespearean heroines as Juliet and Ophelia during a tour to Paris shook the composer to his core. She initially rejected him, so Berlioz channelled his passion for Smithson (and other love interests) into Symphonie fantastique. As it happened, Smithson eventually did agree to
樂曲共有五個樂章。白遼士以非凡的管弦樂效 果（法國世紀樂團今晚更以復古樂器搭配現代 樂器演出），喚起夢中或空想中出現的幻覺， 因此第一樂章就以〈白日夢─激情〉為題。樂 章的引子緩慢而憂鬱，靠配上弱音器的小提琴 營造氣氛，當中也有不少令人不安的停頓，為 副題提及的藝術家埋下伏筆─這位「藝術家」 既是樂曲的主人翁，也是作曲家的「第二自我」： 藝術家不堪孤寂，總認為自己有所欠缺，因為 他所愛的理想女子不在身邊。 引子結束後，代表作曲家理想愛人的旋律響起， 而且會在樂曲中反複重現─白遼士稱之為「固 定樂思」。固定樂思最初由長笛和小提琴奏出， 旋律既綿長又不斷焦躁地擴闊音域，結果幾乎 跨越兩個八度。這個固定樂思不但易於分拆成 小片段，而且在樂曲開展時也舉足輕重；固定 樂思會在截然不同的情況下重現，貫穿全曲。 白遼士寫道：「心上人的形象在藝術家腦海浮 現時，每次都與固定樂思雙雙出現，絕無例外。 藝術家認為［這個］樂思帶點激情，但同時也 像他的心上人一樣，既含羞答答又高貴大方。」 〈舞會〉裏的兩台豎琴奏起迷人的樂音，樂章 織體清晰，充滿剔透精緻的美感。不過藝術家 卻變得意志消沉：身邊翩然而過的舞者都在享 受短暫的歡欣，但這更令藝術家沮喪不已。 第三樂章〈田園景致〉色彩斑斕，足見白遼士 如何在音色調配方面發揮配器的創意。英國號 和雙簧管奏起田園二重奏，可是藝術家仍害怕 心上人會背叛自己，因此痛苦不堪。樂章雖以 大自然為背景，但實際上藝術家卻將大自然當 成銀幕，將自身的恐懼投射上去：暴風雨近了， 遠處也傳來雷聲 ─這些雷聲正象徵了他的恐 懼。
marry Berlioz, a few years later, but her career went aground, as did their marriage, ending depressingly in separation. The extraordinary orchestral effects of Berlioz’s score—rendered tonight by Les Siècles’ mix of contemporary and period instruments—evoke the visions that might occur in a state of dreaming or fantasy. Thus, he calls the first of the work’s five movements “Daydreams—Passions”. Muted strings shape the mood of this slow and melancholy introduction, filled with uneasy pauses. It sets the stage for Berlioz’s protagonist and alter ego, the Artist of Symphonie fantastique. In his solitude, the Artist feels that he is incomplete because he lacks the ideal woman he loves. The introduction gives way to a recurring theme representing this ideal Beloved—Berlioz referred to this theme as his idée fixe, or “fixed idea”. Initially it takes the shape of an elongated melody in flutes and violins that ranges restlessly over nearly two octaves. This idée fixe—which can easily be broken into smaller fragments—plays a key role in the musical argument; it reappears in dramatically changing contexts throughout the course of the work. Berlioz writes, “The Beloved image never presents itself to the Artist’s mind without being associated with [this] musical idea, in which he recognises a certain quality of passion, but endowed with the nobility and shyness which he credits to the object of his love." “A Ball”, which adds the enchanting sound of a pair of harps, is a movement of clear textures and diaphanous beauty, though the Artist sinks into a state of despondency that is only enhanced by the fleeting joys of the dancers around him. In the third movement, “Scene in the Countryside”, Berlioz’s innovations as an orchestrator extend
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藝術家對愛情執迷，但流於空想─這是第一、 二樂章的探討重點；第三樂章恍如槓桿的支點， 之後藝術家就在第四、五樂章漸漸跌入地獄。 〈斷頭台進行曲〉（作曲家顯然只花了一晚寫 作！）充滿喧鬧的重音，是藝術家想像中自己
to his painterly mixture of timbres. The English horn and oboe participate in a pastoral duet, yet the Artist continues to be tormented by fears of betrayal. The natural setting becomes a screen onto which he projects his fears, symbolised by distant thunder that announces a coming storm.
行刑時的情景─事緣他生吞鴉片企圖自殺，高 劑量的鴉片令他產生幻覺，夢見自己殺死了心 上人，被判死刑。行刑的時刻快到了，群眾在 四周圍觀，個個殘酷成性。 《幻想交響曲》以儼如惡夢的〈女巫的安息日〉 作結。〈斷頭台進行曲〉最後幾小節，生動地 描劃藝術家被處決的場面，之後藝術家將自己 的喪禮幻想成惡魔狂歡節似的。白遼士在這裏 將高貴優雅的固定樂思扭曲，把原本美得令人 難忘的旋律醜化一番，效果尤其震撼：降 E 調 單簧管在高音區奏出旋律時不斷嘎嘎作響，暗 示心上人竟然起勁地跳起女巫之舞，令人毛骨 悚然。 莊嚴的素歌《震怒之日》在喪禮中響起，但這 一刻聽來卻覺嘲諷。《震怒之日》一般用於安 魂彌撒，也會提及恐怖的審判日。《震怒之日》 最初由低音號奏出，連串鐘聲過後，旋律卻在 樂團各樂器組別間穿梭，而且速度加快。稍後 作曲家更靠着狂放不羈的賦格樂段，將樂章推 向高潮：賦格以《震怒之日》和女巫之舞為主題， 這一段不但肆意扭曲賦格藝術，更將之套用在 邪魔的祭禮中。
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The first two movements explore the idealism of the Artist’s obsession with love; the third is a fulcrum, giving way to a descent into hell that occurs in the final two movements. With its boisterous accents, “March to the Scaffold” (apparently written in a single night!) depicts the Artist imagining his own execution after having been condemned for killing his Beloved. This fantasy is triggered by a heavy dose of opium that he had consumed in a suicidal state. The Artist fills out the scene with a sadistic crowd that gathers to witness his execution. “Witches’ Sabbath” concludes the Symphonie fantastique with a nightmare. Following the execution that Berlioz graphically depicts in the final measures of “March”, the Artist goes on to fantasise his funeral in the form of a demonic orgy. Berlioz achieves an especially shocking effect here by distorting the sublime idée fixe into a parody of its original haunting beauty: the high-pitched E-flat clarinet squawks out the melody, suggesting that the Beloved lustily participates in the frightening Witches’ Dance. The funeral rites include a sardonic version of the solemn Dies Irae chant—music normally associated with the Mass for the Dead and its vision of a terrifying Judgement Day. This tune is initially entrusted to the tuba, after a series of tolling bells, and then gets speeded up by different sections of the orchestra. Berlioz directs the movement to its climax with an orgiastic fugue whose themes are the Dies Irae chant and the music of the dancing witches, thus twisting the art of the fugue and putting it to the service of this demonic ritual.
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《雷里奧，或稱重拾人生》，作品 14b
Lélio, ou le retour à la vie, Op 14b
《幻想交響曲》以惡夢作結，藝術家（樂曲的主
《雷里奧》由敘述式台詞和樂曲夾雜而成，變化
人翁）也從來沒有自惡夢中醒來；但到了 1831
多端。樂曲多是作曲家的舊作（如早前用以參加
年（也就是《幻想交響曲》首演翌年），白遼
羅馬大賽的多齣清唱劇；他亦於 1830 年贏得該
士就創作了《幻想交響曲》的續篇，一心要主
獎項）。獨白部分表達藝術家決定讓生活重回正
人翁從惡夢中醒來。在《雷里奧，或稱重拾人
軌，靠「崇高的藝術」得到安慰和指引，因為「這
生》裏，藝術家需要重燃對成就感的追求，也
些偶爾閃現的快樂照亮我暗淡的存在」。
需要恢復對這種追求的信心；要令藝術家從絕 望的迷戀中清醒過來，解藥就是音樂與藝術。
《雷里奧》隱含了《幻想交響曲》中固定樂思的 影子，並由以下段落組成：〈漁夫〉將歌德的同
寫作《幻想交響曲》前，白遼士對貝多芬和莎
名敘事歌謠（法語譯本）譜寫成聲樂曲，配合鋼
士比亞都深深着迷（他初遇史密遜，就是看見
琴伴奏，親切地為下文鋪排；〈幽靈合唱〉提及
對方在莎劇中飾演女主角茱麗葉和奧菲利亞），
哈姆雷特以及莎士比亞的才華；〈盜賊之歌〉刻
於是將他對音樂與文學的熱情，在構思《雷里
劃雨果筆下一幫四海為家的海盜；〈祝福之歌〉
奧》時共冶一爐。《雷里奧》除了樂團，還加
是首美不勝收的慢速小夜曲，由男高音獨唱、弦
上兩台鋼琴、合唱團、獨唱男高音、獨唱男中
樂以及豎琴演奏；管弦樂插曲〈風弦琴─回憶〉
音，還有一名旁白／演員。白遼士甚至為這個
暗藏浪漫派的常用隱喻：人的想像力好比風弦
嶄新樂種自創「獨白音樂話劇」一詞，從而暗
琴，兩者同樣依靠大自然的力量驅動；根據莎劇
示作品的戲劇特色。「獨白音樂話劇」由「獨
《暴風雨》寫成的〈幻想曲〉則分為多個段落，
白」與「音樂話劇」兩詞結合而成；「音樂話劇」
歌頌藝術令人覺醒、脫胎換骨的威力。
則是個盛行於十九世紀的劇種，演員會在劇樂 襯托下唸出台詞。 作曲家的自身經歷再度成為強大的創作動力。 他被史密遜拒絕後，轉而與鋼琴家瑪麗．「卡 米」．慕克熱戀。這次兩人計劃私奔，但女方 母親插手，結果瑪麗另嫁他人。白遼士得悉後 痛苦不已，甚至想過先謀殺後自殺，幸好最終 還是回復理智。於是他開始構思新作，為《幻 想交響曲》寫作實驗性質的續篇。新作起初只 簡簡單單以《重拾人生》為題，但 1855 年樂譜 出版時，白遼士就在標題加上「雷里奧」三字。 「雷里奧」可能取自喬治．桑一本小說，是故 事中一個演員的名字；在白遼士的巧思下，大 體上成了作曲家本人另一個「第二自我」，同 時是他筆下那「浪漫派藝術家」的「第二自我」。
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樂曲介紹 湯馬士．梅
歌詞及獨白刊載於 p43
While the Artist never awakens from the nightmare that concludes Symphonie fantastique, in 1831, the year after its premiere, Berlioz created a sequel in which his protagonist does just that. In Lélio, ou le Retour à la Vie (Lélio, or the Return to Life), music and art provide the antidote to hopeless obsession that the Artist needs to reawaken and restore the possibility of fulfilment. Along with Beethoven, Berlioz had become obsessed with Shakespeare in the period leading up to the Symphonie fantastique—he had first encountered Harriet Smithson performing the roles of Juliet and Ophelia—and his combined passions for music and literature fed into the concept of Lélio. This work calls not only for orchestra but also for two pianos, chorus, solo tenor and baritone, and a narrator/ actor. Berlioz even applied an unusual term for this novel genre that alludes to its theatrical dimension: mélologue, a portmanteau word made from “monologue” and “melodrama” (a genre of spoken dramatic text underscored by incidental music that was popular in the 19th century). Once again, the composer’s autobiography also supplied powerful impulses. After his rejection by Smithson, he threw himself into an affair with the pianist Marie “Camille” Moke. This time, the pair planned to elope, but her mother intervened, and Moke married another man. Berlioz was so agonised by the news that he even contemplated murder-suicide but, fortunately, came back to his senses. Instead, he began drafting ideas for an experimental sequel to the Symphonie fantastique. Initially titling it simply The Return to Life, Berlioz added the name Lélio when the score was published in 1855. The name possibly refers to a theatrical figure from the fiction of George Sand and here becomes another alter ego for Berlioz and for the Romantic Artist in general.
Lélio comprises a highly varied sequence of narrated texts and musical pieces, the latter recycled from the composer’s earlier works (such as cantatas he had submitted for the Prix de Rome, which he eventually won in 1830). The spoken monologue traces the Artist’s resolve to become reconciled to life and to be comforted and guided by the “sublime art, to which I owe those rare bright moments of happiness that lighted up my sombre existence”. The score, which weaves in recollections of the Symphonie fantastique’s idée fixe, comprises the following sections: a setting (translated into French) of the Goethe ballad “The Fisherman” for voice and piano, which intimately sets the stage; the “Chorus of Phantoms”, with references to Hamlet and Shakespeare’s genius; “Song of the Brigands”, conjuring a wandering band of pirates depicted by Victor Hugo; “Song of Bliss”, an achingly beautiful slow serenade for the tenor, strings, and harp; the orchestral interlude “Aeolian Harp—Memories”, which alludes to the Romantic metaphor of the wind-harp that, like the human imagination, is inspired by the power of nature; and a multipart fantasy on Shakespeare’s The Tempest that celebrates the positive power of art to transform and reawaken us. Programme notes by Thomas May To follow along with music and narration, please turn to p43.
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3.3.2019 Louis-Hector Berlioz
白遼士
(1803-1869)
《班維努托．切利尼》序曲，作品 23
Benvenuto Cellini Overture, Op 23
《羅馬狂歡節》序曲，作品 9
Le carnaval romain Overture, Op 9
《羅密歐與茱麗葉》，作品 17（選段）
Roméo et Juliette, Op 17 (excerpts)
羅密歐獨自一人
Romeo Alone
卡普雷特家宴
Festivities at the Capulets — 中場休息 Interval —
《哈洛德在意大利》，作品 16
Harold en Italie, Op 16
I. 哈洛德在群山中
I. Harold in the Mountains
II. 朝聖者進行曲
II. The March of the Pilgrims
III. 山民為情人而唱的小夜曲
III. The Serenade of the Mountaineer to His Mistress
IV. 土匪的狂歡節
IV. Orgy of the Brigands
中提琴：阿德里安．拉．馬卡
Viola: Adrien La Marca
是晚演出曲目及次序或有更改
Pieces and their order of performance are subject to change
藝術節加料節目
演前講座 Pre-performance Talk
3.3（日 Sun）3:45–4:15 pm Podium Workshop, Hong Kong Cultural Centre
香港文化中心平台工作室 音樂教育家賴建群主持「白遼士的一生」演前講座
Calvin Lai, music educator, speaks on "The Life of Berlioz"
廣東話主講
In Cantonese
更多加料節目詳情 More Festival PLUS
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《班維努托．切利尼》序曲，作品 23 《羅馬狂歡節》序曲，作品 9
Benvenuto Cellini Overture, Op 23 Le carnaval romain Overture, Op 9 1 8 3 1 年（也就是《幻想交響曲》首演翌年），
史）；也多虧這尊雕塑，切利尼終於能如願與
白遼士贏得享負盛名的羅馬大獎，其後搬到意
特蕾莎成婚。白遼士將愛情主題與熱烈的狂歡
大利，並在旅居期間到處遊覽。文藝復興奇才
節音樂共冶一爐，把《羅馬狂歡節》序曲推向
班維努托．切利尼令他深深著迷：切利尼是佛
高潮，象徵切利尼事業愛情兩得意，效果非常
羅倫斯一位雕塑家、金匠、音樂家、傳記作家
震撼。
和戰士。白遼士認為，切利尼的故事充滿藝術 與愛情，兩者的結合更是無堅不摧，大有改編 成歌劇的潛質，於是動筆寫作。結果《切利尼》 是他第一齣完整歌劇，1836 年脫稿；1838 年在 巴黎首演─白遼士在回憶錄裏還語帶風趣地指 出，其實首演當日慘敗收場。
雖然歌劇《切利尼》首演時失敗收場，但《班 維努托．切利尼》序曲（歌劇本身的序曲）卻 為白遼士贏得掌聲：《班維努托．切利尼》序 曲和《羅馬狂歡節》序曲現在都是音樂會寵兒。 《班維努托．切利尼》序曲既是全劇最後一首 完成的作品（1838 年），也是幅音樂肖像畫，
他認為歌劇《切利尼》之所以失敗，全因指揮
刻劃衝勁十足的主人翁─這位英雄暨藝術家又
阿本尼卡無能，甚至認為實際上是指揮破壞了
是白遼士另一個「第二自我」。莽撞的音樂與
作品。白遼士憶述，劇中描述人人都在羅馬狂
較緩慢、抒情的樂段交替出現（包括選自切利
歡節（又稱「懺悔星期二」，是大齋節前縱情
尼與特蕾莎愛情二重唱的旋律）；全曲也像《羅
狂歡的日子）尋歡作樂，是個十分關鍵的歡鬧
馬狂歡節》序曲一般，在熱血沸騰的對位樂段
場景。他也指示音樂要以活潑的速度演奏，可
中達到巔峰。
是阿本尼卡卻拒絕跟隨。白遼士所用節奏與薩 塔瑞舞曲有關，以急速的三拍子寫成。為了保 存劇中好些上佳的素材，作曲家日後就譜寫了 獨立的音樂會序曲《羅馬狂歡節》。 這種極盡喜慶、像打筋斗似的音樂除了為全曲 掀開序幕以外，也是樂曲其他樂思的泉源。激 情的開端不久突然退讓，獨奏英國管奏起傷感 的旋律，代表切利尼對特蕾莎的愛（特蕾莎卻 被父親許配與另一雕塑家，剛巧是切利尼的死 對頭）。接着喧鬧的狂歡節音樂響起，更化成 長篇的發展部。劇中的切利尼最後排除萬難， 完成了著名的帕爾修斯青銅像（更因此名垂青
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《班維努托．切利尼》首演海報，1838 年 9 月 10 日 Poster for first performance of Benvenuto Cellini on 10 September 1838.
In 1831, the year after Symphonie fantastique’s premiere, Hector Berlioz moved to Italy after winning the coveted Prix de Rome and travelled widely throughout the country. He became intrigued by the Renaissance phenomenon Benvenuto Cellini—a Florentine sculptor, goldsmith, musician, memoirist and soldier—and saw operatic potential in Cellini’s story, in which art and love together prove triumphant. Berlioz started composing the opera, the first he completed, in 1836, and it premiered in Paris in 1838—but it was a fiasco, as Berlioz amusingly recounts in his own memoirs. He ascribes much of the failure to the incompetence of the conductor François-Antoine Habeneck, who effectively sabotaged the piece. Berlioz recalled that Habeneck refused to follow the lively tempo prescribed for the depiction of a pivotal scene of rollicking festivity at the Roman Carnival (also known as Mardi Gras, the bawdy celebrations just before Lent). He cast this rhythm, which is associated with a dance known as a saltarello, in a very fast triple meter. In an attempt to salvage some of the excellent music from the opera, Berlioz later created Le carnaval romain as a free-standing concert overture.
a commission for his (historically) famous bronze statue of Perseus. Thanks to his artistic triumph, he is allowed to marry his beloved Teresa. Berlioz symbolises this double victory for the artist in thrilling fashion by combining the love theme with the frenzied Carnival music at the climax of the Overture. Despite the failure of the opera at its premiere, Berlioz did win applause for the Overture to Benvenuto Cellini: both this piece and Le carnaval romain have become concert favourites. Written last (in 1838, when the rest of the opera was complete), the Overture is a tone portrait of the dashing artist-hero protagonist—still another of Berlioz’s alter egos. Impetuous music alternates with slower, more lyrical passages (including the melody from Cellini’s love duet with Teresa); the whole piece, like its companion, culminates in a rousing contrapuntal climax.
This wildly festive, somersaulting music launches the Overture and is the source for other ideas later in the piece. It makes for a fiery but brief opening, suddenly giving way to a wistful melody for solo English horn. This melody represents Cellini’s love for Teresa, who has been promised by her father to a rival sculptor. An extended development of the boisterous Carnival music is then heard. In the opera, Cellini surmounts his challenges to complete
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《羅密歐與茱麗葉》，作品 17（選段） 〈羅密歐獨自一人〉及〈卡普雷特家宴〉
Roméo et Juliette, Op 17 (excerpts) “Romeo Alone” and “Festivities at the Capulets” 1 8 2 7 年秋季，一個英國劇團來到巴黎，演出英
雖然《羅密歐與茱麗葉》是合唱交響曲，第一部
國最偉大劇作家的幾齣作品，引起全城哄動。
分「由合唱描述故事的輪廓」，可是全曲的重心
白遼士憶述：「遇上莎士比亞的時候我毫無防
─也就是集中刻劃「這場崇高戀愛」的樂段（語
備，像被雷電擊中一樣。」那時他才廿三歲，
出白遼士的樂譜序言）─卻返回一個完全獨立
對英語還一竅不通。「這個發現實在令人讚嘆，
的領域：「樂器的語言更豐富、變化更多、限制
彷彿一道閃電劃過，藝術天堂一下子在我眼前
更少，而且正好因為這個語言不太明確，所以威
敞開，連內裏最深處也照耀得亮堂堂。」
力之大，實在無可比擬」。
白遼士從古典作曲家手上繼承「交響曲」樂種，
因此白遼士避免將自己的音樂與莎士比亞的詩作
但在其第一首交響曲《幻想交響曲》裏已為樂
「一較高下」，唱詞甚至連這位大文豪的原文也
種注入新生命與新意義；而他日後仍不斷開拓
沒有包括在內。《羅密歐與茱麗葉》共有七個樂
寫作交響曲的新手法。可以說，當中以《羅密
章，分為三大部分，白遼士約略以原作為藍本撰
歐與茱麗葉》所用的「戲劇交響曲」概念最自
寫文本，再請詩人伊美．德桑寫成唱詞劇本。羅
成一家。
密歐和茱麗葉這兩個人物，則完全由無詞的樂團
1 8 3 8 年（ 也 就 是 他 第 一 齣 歌 劇 失 敗 收 場 的 一
代表。
年），白遼士已經債台高築，可是卻得到小提
事實上，樂曲中段的器樂樂章（夾雜少量男聲合
琴大師帕格尼尼出手相助。帕格尼尼認為白遼
唱）是全曲最著名的部分，也經常在音樂會上獨
士是貝多芬的繼承者，於是捐了一大筆錢給他，
立演出，就像今晚音樂會所選的節目一樣。
而且可說沒有任何附帶條件。白遼士的財政困 境暫時得以緩解。接着，白遼士埋首一齣關於 不幸戀人的莎劇，根據這部悲劇譜寫樂曲；不 過這次卻不是為歌劇舞台而寫（他厭倦了當中 的勾心鬥角），而是為演奏廳而作。1839 年 1 月至 9 月期間，他完成了規模宏大的《羅密歐 與茱麗葉》，同年 1 1 月作世界首演。當日的演 出不但是場音樂會，更是文化界的盛事，吸引 了不少文化界精英分子出席：連年輕的華格納 也對其中一場演出留下深刻印象。
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〈羅密歐獨自一人〉是樂曲第二部分的開端。一 開始，小提琴充滿無拘無束的半音變化，白遼士 以嫻熟而精緻的管弦樂細節（包括巧妙地運用停 頓），刻劃羅密歐的單思之苦。作曲家像電影導 演似的，在大背景（卡普雷特家宴）和羅密歐的 觀點之間來回切換，由雙簧管綿長的旋律將主人 翁刻劃成場景中的局外人。這個主題後來重現時 尤其剛勁，作曲家同時將狂野的舞蹈音樂混入其 中，效果精彩絕倫。
In the fall of 1827, a British theatre company took Paris by storm when it presented a handful of works by England’s greatest playwright. “Shakespeare, coming upon me unawares, struck me like a thunderbolt,” recalled Berlioz, who was only 23 and, at the time, did not even know English. “The lightning flash of that sublime discovery opened before me at a stroke the whole heaven of art, illuminating it to its remotest depths.”
While Roméo et Juliette is a choral symphony, in which “the chorus gives the outline of the action” in the first part, the heart of the work— the music devoted to “the very sublimity of this love”, as Berlioz writes in his preface to the score— retreats into the completely independent sphere of “the language of instruments, a language richer, more varied, less restricted, and thanks to its very indefiniteness, incomparably more potent”.
With his first symphony, Symphonie fantastique, Berlioz had already envisioned a revolutionary new life and purpose for this genre, inherited from Classical predecessors. Yet he would continue his pioneering approach to the symphony. Arguably the most strikingly original of these is the concept of the symphonie dramatique he developed in Roméo et Juliette.
Berlioz thus avoids setting up a “competition” between his music and Shakespeare’s poetry. In fact, he doesn’t even set the Bard’s words in the sung passages: for the tripartite Roméo et Juliette (divided into seven movements), Berlioz drafted his own text, loosely based on the original, from which he had the poet Émile Deschamps devise a libretto. The characters Romeo and Juliet are entirely represented by the wordless orchestra.
In 1838, the year of his failed first opera, Berlioz found temporary reprieve for his burdensome debts through the generosity of the violin virtuoso Niccolò Paganini, who saw the composer as the heir to Beethoven and donated a sizeable gift, no strings attached (so to speak). Berlioz plunged into a new treatment of Shakespeare’s tragedy of the star-crossed lovers—not for the opera stage (whose politics wearied him), but for the concert hall. He completed the massive Roméo et Juliette score between January and September 1839. The world premiere in November was not just a concert but a major event that attracted the cultural elite: even the young Wagner would be indelibly marked when he heard one of the performances.
In fact, the internal instrumental movements (with small parts for male chorus) are the best-known parts of the score, as they are frequently heard independently in concert, as on our programme. “Romeo Alone” opens the symphony’s second part. Beginning with chromatically unmoored violins, Berlioz depicts the young man’s lovesick sadness with masterful, exquisite orchestral detail—including the use of pauses. In the manner of a film director, Berlioz moves back and forth from the large-scale backdrop of the festivities at the Capulets’ ball to Romeo’s perspective. The oboe’s long melody paints the protagonist as an outsider. In a tour de force, Berlioz combines the frenzied dance music with a bold restatement of this theme.
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《哈洛德在意大利》，作品 16
Harold en Italie, Op 16
1812 年，詩人拜倫（1788-1824）在《哈洛德公 子遊記》第一、二章出版後憶述：「有天清早 起床，發現自己突然成名了。」在十九世紀浪 漫主義者圈子中，「拜倫狂熱」簡直蔚為風尚， 所向披靡。白遼士與音樂機構衝突不斷，自己 又性情古怪，於是更傾向以拜倫的形象自況。 樂曲標題《哈洛德在意大利》由於與《哈洛德
“I awoke one morning and found myself famous,” recalled the poet George Gordon Byron (1788-1824) recalled with regard to the publication of the first two cantos of Childe Harold’s Pilgrimage in 1812. “Byromania” was a formidable cultural phenomenon for the 19th century Romantics. Berlioz’s constant clashing with the musical establishment as well as his eccentric character enhanced his own association with the Byronic image.
公子遊記》名稱相似，因此也沾了點光。《哈 洛德公子遊記》是拜倫的長篇敘事詩，內容帶 有自傳性質：一個充滿詩意的憂鬱青年，由於 對生命大失所望，所以跑到地中海附近流浪散 心。 上文提及的小提琴家帕格尼尼深受公眾愛戴， 本身也是樂迷眼中的拜倫式英雄。他不久前得 到一把史特拉第瓦里中提琴，於是委約白遼士 寫作新的中提琴協奏曲。然而白遼士 1834 年完 成的應約之作，不但並非炫技作品，性質更是 大相徑庭：這首非常創新的交響樂曲，由中提 琴擔任主角，「像個多少帶點主動的參與者， 一直保留自己的個性」。 白遼士最初打算以蘇格蘭女王瑪麗一世的悲劇 為題材，可是他後來寫道：「我想起當年在阿 布魯左（羅馬東面的山區）漫遊的日子。既然 往事如詩，就希望將中提琴當成一個憂鬱的夢 想家，就像拜倫筆下的哈洛德公子一樣。因此 交響曲就以《哈洛德在意大利》為題。」換句 話說，哈洛德這幅人物肖像，畫中人正是年輕 時的白遼士。 帕格尼尼起初十分失望，甚至拒絕擔任獨奏者 （雖然付足款項）。後來，他終於聽了《哈洛 德在意大利》，大受感動，甚至再度委約白遼 士，寫作《羅密歐與茱麗葉》交響曲。
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The title Harold en Italie (Harold in Italy) takes advantage of the fame of Childe Harold’s Pilgrimage, Byron’s long narrative (and autobiographical) poem about a poetic, melancholy young man who wanders through the Mediterranean to find escape from his disillusionment with life. The above-mentioned violinist Paganini—who himself was associated by his adoring public with the image of the Byronic hero—had recently acquired a Stradivarius viola, for which he commissioned a new concerto from Berlioz. The latter responded not with a showy display piece but with something different, which he composed in 1834: an innovative symphonic work in which the viola appears as the protagonist, “like a more or less active participant, always maintaining his own character”. Initially, Berlioz planned to evoke the tragic fate of Mary, Queen of Scots, but, as he later wrote, the composer was drawn to “poetic recollections of my wanderings in the Abruzzi [a mountainous region east of Rome], wanting to make the viola a kind of melancholy dreamer in the manner of Byron’s Childe Harold. Hence the title of my symphony: Harold en Italie.” Harold, in other words, is very much a portrait of the artist himself as a young man. Paganini was initially disappointed and declined to play the solo part (though he paid the fee). But when he finally heard Harold en Italie later, it so
《哈洛德在意大利》第一樂章分為兩大部分。 開端的長篇引子速度緩慢，氣氛陰沉，樂團經 常奏出蜿蜒的音型：作曲家明顯在邀請我們一 同踏上旅程。終於，中提琴突然像陽光乍現一 樣，奏起誘人的獨奏亦即哈洛德主題：這時哈 洛德正在山區蹓躂。這個主題在曲中經常重現， 概念與白遼士在《幻想交響曲》所用的固定樂 思如出一轍。《幻想交響曲》的固定樂思代表 主人翁的心上人；《哈洛德在意大利》的固定 樂思則描寫主人翁哈洛德，刻劃他經歷不同的 環境，呈現不同的情緒。白遼士自言，《幻想 交響曲》中「固定樂思像一種熱切的執念，不 斷闖進風馬牛不相及的情景，令這些情景偏離 軌道」，但「哈洛德的旋律卻是疊加在其他管 弦樂聲部之上，與這些聲部形成速度與氣氛的 對比，卻不會打亂聲部本身的發展。」引子過 後是色彩繽紛的〈快板〉，一切憂鬱一掃而空。
impressed him that he gave Berlioz the commission for his Roméo et Juliette symphony. Harold en Italie’s two-part opening movement begins with a lengthy introduction, slow and dark and full of meandering figures from the orchestra: clearly we are being invited on a journey. The viola at last springs out like a burst of sunlight to announce its beguiling soloist-as-Harold theme: here, Harold roaming the mountains. Recurring throughout the work, this is another example of the idée fixe concept that Berlioz used in the Symphonie fantastique. In the latter, it represented the love object; this time, the idée fixe depicts the protagonist Harold as he undergoes a variety of shifting moods and settings. Berlioz himself notes that in the Symphonie fantastique, “the idée fixe keeps obtruding like an impassioned obsession on scenes that are alien to it and deflects their course,” whereas “Harold’s melody is superimposed on the other orchestral voices and contrasts with them in tempo and character without interrupting their development.” The introduction leads into a colourful Allegro which dispels all melancholy. “The March of the Pilgrims” made an especially powerful impression when Harold was premiered and had to be encored. The idea of wandering in foreign lands is symbolised by the religious journey of pilgrims (treading bass pizzicatos). Berlioz introduces a persistently intruding “off-key” note that tolls like a bell, suddenly causing the onward flow to pause. The pilgrims are heard to approach the watching Harold with a gradual crescendo. In the middle, the soloist begins playing a series of delicately pleading arpeggios against a seraphic chorale from the winds. Eventually, the melody of the pilgrims’ march retreats quietly into the distance, to return at the end of the symphony.
艾提安．卡加，《白遼士》，1863 年刊登於《Le Boulevard》 Étienne Carjat. Berlioz, published in Le Boulevard. 1863.
The mood becomes earthier and more innocently
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《哈洛德在意大利》首演時，〈朝聖者進行曲〉 尤其令觀眾印象深刻，甚至要求將樂章重奏一 次。「朝聖者的旅程」（仿如腳步的低音大提 琴撥弦）象徵「闖蕩異域」。白遼士加插一個 反複闖入的「走調」音符，聽來像教堂鐘聲一 樣，本來不住流動的音樂，這刻突然停下來。 哈洛德一直看著朝聖者漸漸走近，樂曲音量也 隨之漸強；到了樂章中段，獨奏奏出連串優雅 精緻的琶音，像懇求似的；管樂奏出天使般的 聖詠曲充當背景。最後，〈朝聖者進行曲〉的 旋律漸漸遠去，在終樂章的尾段才重現。
cheerful in “The Serenade of the Mountaineer to His Mistress”. Berlioz draws on recollections of being charmed by the wandering religious musicians who would play bagpipes and a type of oboe known as the piffero. The movement contrasts the lively chirping heard at the outset with a haunting melody first played by the English horn (the serenade). Harold’s melody soon blends with this. In the last section, Berlioz superimposes the quicker opening music-making with the serenade in a cross-cutting effect.
響曲的手法，狂野的管弦樂片段與多個來自前
In “Orgy of the Brigands”, Berlioz borrows a strategy from Beethoven’s 9th Symphony by having the orchestra reconsider the themes of each of the preceding movements between snatches of the orgiastic music that soon takes centre stage. As in the 9th Symphony, these are rejected, until we are left with Harold’s theme, which is slowly dissected. The soloist steps aside as the pandemonium of the brigands is finally let loose in a fury of electrifying rhythms and exciting dissonances. Towards the end, the strings reintroduce the serene melody of the “Pilgrims’ March” and Harold returns, as if caught in a spiritual and physical tug of war, playing plaintively undecided phrases. Once more, the brigands sweep him away and close the work with their rambunctious revelry.
三樂章的主題交替出現，但不久狂野樂段還是
Programme notes by Thomas May
〈山民為情人而唱的小夜曲〉較質樸純真，氣 氛也較歡快。白遼士想起，曾經見過四海為家 的朝聖者當中，有樂師演奏風笛和「皮費羅管」 （雙簧管的一種），令他深深着迷，所以就在 這裏用上同類聲音。樂章活潑的開端儼如鳥語， 後來由英國管率先奏出的旋律（小夜曲）則令 人難忘，兩者形成鮮明對比。不久，就連哈洛 德旋律也融合其中。樂章最後一段，白遼士將 開端速度較快的音樂疊加在小夜曲上，營造縱 橫交錯的效果。 白遼士在〈土匪的狂歡節〉襲用貝多芬第九交
成了焦點；不過往後也像第九交響曲一樣，連 狂野樂段也落得被捨棄的下場，只剩下哈洛德 主題在慢慢瓦解。獨奏者退到一旁；這時土匪 終於完全豁出去，肆無忌憚，亂作一團，振奮 的節奏和刺激的不協和音趁機湧至。臨近樂章 結尾，弦樂再度奏起〈朝聖者進行曲〉的平靜 旋律；哈洛德也現身了，卻彷彿陷於靈肉交戰 一般，只能奏出猶疑哀怨的樂句。土匪再次將 哈洛德趕走，最後在一片喧鬧狂歡中收結全曲。 樂曲介紹 湯馬士．梅
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( Fri 五 )
門票 尚餘少量 k e ts ic T d L im it e
《雷里奧》獨白音樂話劇
Lélio, A Lyric Monodrama 真實角色
Real Persons
Personnages réels
作曲家雷里奧 樂手、合唱團、雷里奧的朋 友及學生
Lélio, Composer Musicians, Choristers, Friends and Pupils of Lélio
Lélio, compositeur de musique Musiciens, Choristes, Amis et Élèves de Lélio
虛構角色
Fictitious Persons
Personnages fictifs
郝睿修：雷里奧的朋友 盜賊隊長
Horatio, Friend to Lélio A Brigand-chief
盜賊、鬼魂
Brigands, Ghosts
Horatio, ami de Lélio Un Capitaine de Brigands Brigands, Spectres
雷里奧
LÉLIO
LÉLIO
神啊！我仍然存活！⋯⋯
Heavens! I am still alive!...
Dieu! je vis encore...
這是真的，生命如蛇竄入 我的心臟，只為再次將它 撕裂⋯⋯不過，即便這一 劑背信的毒藥矇騙了我的 絕望，我又怎能從這個夢 生 還？ 我 從 哪 兒 得 到 力 量，怎會沒有在那鐵手的 殘酷摧握中粉碎？這一重 折磨，這些法官、劊子手、 士兵，群眾的尖叫聲，那 些有序的腳步如同獨眼巨 人的鎚子一樣無情地敲在 我心上⋯⋯即使是在這困 倦的睡眠中，那不可阻撓 的旋律依然縈繞我耳邊， 使我想起時間已然抹除的 影像，又一次喚起那沉睡 的痛苦。
Then it is true, after all! Life, like a serpent, has crept into my heart again, to rend it anew… But, even though that treacherous poison deceived my despair, how could I survive that dream;…whence took I the strength to withstand the crushing power of that iron hand which seized me?… The scaffold, the judges, the hangmen, the soldiers, the screaming mob, and the ponderous, measured tread of those merciless feet beating upon my heart like the sledgehammer of the Cyclops… And then, that inexorable melody, which haunted me even through the lethargy of my sleep, recalling that image which time had almost effaced from my memory, to revive my slumbering sorrow and suffering…
Il est donc vrai, la vie comme un serpent s’est glissée dans mon cœur pour le déchirer de nouveau... Mais si ce perfide poison a trompé mon désespoir, comment ai-je pu résister à un pareil songe?... Comment n’aije pas été brisé par les étreintes horribles de la main de fer qui m’avait saisi?... Ce supplice, ces juges, ces bourreaux, ces soldats, les clameurs de cette populace, ces pas graves et cadencés tombant sur mon cœur comme des marteaux de Cyclopes... Et l’inexorable mélodie retentissant à mon oreille jusque dans ce léthargique sommeil, pour me rappeler son image effacée et raviver la souffrance endormie.
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La voir, l’entendre, elle!! elle!... ses traits nobles et gracieux défigurés par une ironie affreuse; sa douce voix changée en hurlement de Bacchante; puis ces cloches, ce chant de mort religieux et impie, funèbre et burlesque, emprunté à l’Église par l’Enfer pour une insultante parodie!... Et, encore elle, toujours elle, avec son inexplicable sourire, conduisant la ronde infernale autour de mon tombeau! Quelle nuit! au milieu de ces tortures j’ai dû pousser des cris, Horatio m’aurait-il entendu?... Non, voilà encore la lettre que je lui avais laissée; s’il fût entré, il l’eût prise... pauvre Horatio! Je crois l’entendre encore si calme et si tranquille, hier à son piano, pendant que je lui écrivais cet adieu suprême... Il ignorait les déchirements de mon cœur et ma funeste résolution; et de sa voix la plus douce, poète insoucieux des passions cruelles, il chantait sa ballade favorite.
To see her, hear her, cruel! cruel! Her soft, fair features distorted by atrocious irony; the melody of her sweet voice changed to that of a howling Bacchanalian; then the awful sound of those bells ringing a death-knell; that death-chant, diabolically impious yet savouring of church and religion, borrowed, as it were, by the powers of Hell, from above to be made a blasphemous parody of!... And yet it was she…she herself, yet not herself, wearing that impenetrable smile, and leading on the infernal dance around my grave. What a night of horror!...Oh, how I must have writhed under the torments I endured. Did Horatio hear me? I wonder. No, no, for here is the letter I wrote and left for him, my last farewell…had he been here, he would have taken it and kept it…poor Horatio! I imagine I still hear him playing most divinely, seated calmly at his piano, but yesterday, while I sat here writing him this last farewell…He knew nothing of the suffering and torments that racked and rent my heart… naught of my awful resolve; with that beautiful, sweet voice of his, he, the poet as yet untouched by cruel passions, was singing his favourite ballad.
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去 看， 去 聽， 聽 她 啊！ ⋯⋯她高貴優雅的容貌被 可怖的諷刺所扭曲；那甜 美的聲音轉變成狂歡作樂 者的呼喊；然後是這些鐘 聲，那首死亡之歌虔誠卻 不敬、既有哀悼意味又滑 稽諷刺，是地獄惡魔從人 間 借 來 作 冒 犯 的 戲 仿！ ⋯⋯然而，是她，總是她， 掛着謎樣的笑容，在我墓 旁跳着地獄之舞！ 真可怕的夜晚啊！我在忍 受折磨時，必然曾大聲呼 喊。郝睿修聽見我的聲音 嗎？不，這裏還有我留給 他的信件；如果他來了， 一定會取走⋯⋯可憐的郝 睿修！我好像還聽得見他 昨日在鋼琴前安坐，如神 般彈奏，而我則在撰寫這 封訣別信。他渾然不知我 心中的痛苦和折磨、我致 命的決定；而這個未被殘 酷蹂躪的無憂詩人，則以 最曼妙的聲線，吟唱他最 喜愛的歌謠。
I. 漁夫
I. The Fisherman
I. Le pêcheur
郝睿修
HORATIO
HORATIO
寂水泛漣，輕濤若漪 漁人佇坐岸邊 倦怠的靈魂再有所倚 被美麗的湖泊柔洗遍遍 浪頭魚線在遊移 他聽不到，他看不見 驀地，水之仙女自湖乍現 吐露翩翩
The waters rolled, the waters rose; a fisher sat on the shore, Watching the line with calm repose, Cool to the heart’s deep core. And as he sat with list’ning ear, And downward gazing eyes, He saw from out the deep so clear a water nymph arise.
L’onde frémit, l’onde s’agite; Au bord est un jeune pêcheur. De ce beau lac le charme excite Dans l’âme une molle langueur. À peine il voit, à peine il guide Sa ligne errante sur les flots. Tout à coup sur le lac limpide S’élève la nymphe des eaux.
雷里奧
LÉLIO
LÉLIO
自我為郝睿修仿效歌德而 寫的情歌譜曲，五載已 逝。噢！那時我們何等 快樂；他的命運尚未改 變，而我⋯⋯五年！這 段時間我受了多少苦！
Five years are gone, since I set Goethe’s song to music for him. Oh! how happy we were then; his lot has remained unchanged, and mine…alas!...five years! How I have suffered since then!...
Il y a cinq ans qu’Horatio écrivait cette ballade imitée de Goethe et que j’en fis la musique. Nous étions heureux alors; son sort n’a pas changé, et le mien... cinq ans! que j’ai souffert depuis lors!
郝睿修
HORATIO
HORATIO
她對他吟唱：看這環抱
She sang, she spake: Why dost entice my speckled brood away, With human wit and cunning nice, To die ‘neath parching ray? Behold the sportive troutlet dart, And flash each silver scale! Oh, come to us just as thou art And we will make thee hale!
Elle lui dit: Vois la lumière Descendre dans mes flots d’azur; Vois dans mes flots Phœbé se plaire Et briller d’un éclat plus pur. Vois comme le ciel sans nuage Dans les vagues paraît plus beau; Vois enfin, vois ta propre image Qui te sourit du fond de l’eau.
雷里奧
LÉLIO
LÉLIO
海妖！海妖！上帝啊！ 我的心要碎了！
Siren! Siren! Oh God! My heart will break!
Sirène! Sirène! Dieu! mon cœur se brise!
郝睿修
HORATIO
HORATIO
寂水泛漣，輕濤若漪
他順從，任幻象將他的心攻佔
The waters rolled, the waters rose, The waves did lave his feet; in his heart fond thoughts arose Of love and of kisses sweet.
L’onde frémit, l’onde s’agite, Vient mouiller les pieds du pêcheur; Il entend la voix qui l’invite, Il cède à son charme trompeur.
雷里奧
LÉLIO
LÉLIO
是的，是的，
Yes, yes, alas! I listened but too often.
Oui, oui, je ne l’ai que trop écoutée!
我湛藍浪上的粼光 看菲比喜歡的翠濤 綻放更純潔無暇的輝光 看天空無半縷雲霧 泛動中更顯萬道霞光 看啊！最後看看，看看你的 倒影從水底嫣然一笑
濡濕漁人足尖 他聽見，誘惑之聲的情意
我已聽得太多了！
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HORATIO
HORATIO
郝睿修
Elle disait d’une voix tendre, D’une voix tendre elle chantait; Sans le vouloir, sans se défendre, Il suit la nymphe, il disparaît.
She of him, one kiss did crave, And on his breast did lean. He drew near, sank 'neath the wave and never more was seen.
她以天籟之聲傾訴 復而又唱，迴音溫婉輕緲 他不作欲求，對此防衛全無 餘聲終隨仙女而去 歸於沉杳
LÉLIO
LÉLIO
雷里奧
Étrange persistance d’un souvenir! Hélas! ces vers qui contiennent une allusion évidente à mon fatal égarement, cette musique, cette voix qui retentissent obstinément en moi, ne semblent-ils pas me dire que je dois vivre encore pour mon art et pour l’amitié?
Strange, how these recollections haunt me! Alas! And those verses which contain so striking an allusion to my own sad past, so closely resembling it…that music, that voice which continually echoes in my heart, do they not all seem to say to me: “Live on, live on for thine art, for friendship’s sake!”
記 憶 的 堅 執 何 等 奇 妙！ 唉！這些樂句暗示了我悲 慘的過去，這些音樂、這 把執意於我心中迴響的 聲 音， 難 道 不 似 是 要 告 訴我，為了我的藝術和友 誼，我必須繼續活着？
Vivre!... mais vivre, pour moi, c’est souffrir! et la mort, c’est le repos. Les doutes d’Hamlet ont déjà été une première fois sans force contre mon désespoir; seraient-ils plus puissants contre la lassitude et le dégoût? Je ne cherche pas à approfondir quels seront nos songes quand nous aurons été soustraits au tumulte de cette vie, ni à connaître la carte de cette contrée inconnue d’où nul voyageur ne revient... Hamlet!... profonde et désolante conception!... que de mal tu m’as fait! Oh! il n’est que trop vrai, Shakespeare a opéré en moi une révolution qui a bouleversé tout mon être. Moore, avec ses douloureuses mélodies, est venu achever l’ouvrage de l’auteur d’Hamlet. Ainsi la brise, soupirant sur les ruines d’un temple renversé par une secousse volcanique, les couvre
Live on!...to live means, for me, to suffer!... Death means repose. How shall the doubts that arose in the mind of a Hamlet, and which of late proved powerless against my despair, hold out against the lassitude and loathsomeness of life? I seek not to know “what dreams may come in that sleep of death when we have shuffled off this mortal coil”, nor would I puzzle over the map of “the undiscovered country from whose bourn no traveller returns”… Hamlet! … Poem profound and dread! What agony hast thou caused me! Oh, it is but too true, Shakespeare has wrought a change in me, has revolutionized my inmost being to its deepest depths. Moore, with his dolorous melodies has completed thy work, thou creator of
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活着！⋯⋯不過，對我來 說，活着就是煎熬！死亡 倒是平和。哈姆雷特心中 的懷疑，已無力抗衡我的 絕望，更遑論與生命的疲 憊和厭惡對抗？我並不意 在明瞭「我們從此生的喧 鬧中解脫後將來會擁有的 夢想」，亦不會為「那並 無旅人歸來的未知國家」 的地圖而困惑⋯⋯哈姆雷 特！⋯⋯如此深沉而可怕 的詩句！⋯⋯你使我受了 多少苦難！啊！統統都是 真的，莎士比亞在我身上 帶來一場革命，憾動我整 個存在。摩爾那些令人痛 苦的旋律，則完成了哈姆 雷特的作者遺下的工作。 就像呼嘯的風吹過被火山 震得傾倒的神殿遺跡，將 之蓋於黃沙之下，逐漸將 所有痕跡抹去。 不過，我依然不斷回歸到 那部作品去，為那位偉大 的天才入迷⋯⋯國王的鬼 魂向哈姆雷特展示奪去他
父親的罪行那一幕，是何 其 美 妙、 何 其 盛 大！ 我 一直覺得，這一齣劇可以 寫成一套宏大而嚴肅的樂 曲。這些記憶比往昔更觸 動我了⋯⋯我的音樂本能 再次甦醒⋯⋯沒錯，我聽 見了音樂⋯⋯ 那麼，究竟是什麼特別的 官能，讓我們能以想像取 締現實？在我心中奏樂的 理想管弦樂團，到底是什 麼？⋯⋯ 一組嚴肅的編曲⋯⋯寬廣 而不祥的和聲⋯⋯憂鬱的 旋律⋯⋯一致又分隔八度 的合唱團⋯⋯就似是神秘 莊嚴的靜夜裏，一道響亮 的聲線唱出嚇人的輓歌 ⋯⋯
Hamlet. Like the wind, which, sighing o’er the ruins of a temple wrecked by volcanic eruption, covers them with sand, thus gradually effacing every trace of their remains. And yet I ever return to that work, fascinated, spell-bound by that mighty genius. How grand, how glorious the scene in which that Royal ghost reveals to youthful Hamlet the terrible crime which robbed the son of his father. It has always seemed to me that this scene should form the subject of a musical composition of a grand sombre character. And now the majestic power of that scene comes o’er me once more, filling me with emotion stronger than ever before. The genius of music is awakened in me anew…yet I feel it… I must be up and doing… I hear music around me… What can that singular faculty be which thus substitutes reality through the imagination?...What ideal orchestra is that playing within me?... A sombre instrumentation...broad, sinister harmonies...a plaintive melody... a chorus in unisons and octaves...like one great voice uttering a threatening lament through the solemn, mysterious stillness of night.
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peu à peu de sable et en efface enfin jusqu’au dernier débris. Et pourtant j’y reviens sans cesse, je me suis laissé fasciner par le terrible génie... Qu’il est beau, vrai et pénétrant, ce discours du spectre royal, dévoilant au jeune Hamlet le crime qui l’a privé de son père! Il m’a toujours semblé que ce morceau pouvait être le sujet d’une composition pleine d’un grand et sombre caractère. Son souvenir m’émeut en ce moment plus que jamais... Mon instinct musical se réveille... Oui, je l’entends... Quelle est donc cette faculté singulière qui substitue ainsi l’imagination à la réalité... Quel est cet orchestre idéal qui chante en dedans de moi?... Une instrumentation sourde... une harmonie large et sinistre... une lugubre mélodie... un chœur en unissons et octaves... semblable à une grande voix exhalant une plainte menaçante pendant la mystérieuse solennité de la nuit...
II. Chœur d’ombres
II. Chorus of Phantoms
II. 幽靈合唱
CHŒUR Froid de la mort, nuit de la tombe, Bruit éternel des pas du temps, Noir chaos où l’espoir succombe, Quand donc, quand donc finirez-vous?
CHORUS
合唱團
Deathly horror, night ne'er-ending,
如死亡冰冷，如墓的夜
Rumour eternal of time rolling on; Chaos, o’er Hope thy darkness extending, Oh say, will thy power ne’er be o’ercome?
時間永恆的腳踏步步進迫
Vivants! toujours, toujours la mort vorace Fait de vous un nouveau festin, Sans que sur la terre on se lasse De donner pâture à sa faim Sans qu’on se lasse De donner pâture à sa faim.
Ye living! greedy Death, upon you waiting, Mows you down with sickle keen, Yet Earth yields harvests unabating, Seeks not Death from ravage to wean, yet Earth yields harvests. Seeks not Death from ravage to wean.
活着！貪婪的死亡
Quand donc, nuit de la tombe, Bruit éternel des pas du temps, Noir chaos où l’espoir succombe, Quand donc, quand donc finirez-vous?
Oh say! Horrors of Death, Rumour eternal of time rolling on, Night, thy darkness o’er Hope extending, Say, will thy power ne’er be o’ercome?
何時，如墓的夜
LÉLIO
LÉLIO
雷里奧
Ô Shakespeare! Shakespeare! toi dont les premières années passèrent inaperçues, dont l’histoire est presque aussi incertaine que celle d’Ossian et d’Homère, quelles traces éblouissantes a laissées ton génie! Et pourtant que tu es peu compris! De grands peuples t’adorent, il est vrai; mais tant d’autres te blasphèment! Sans te connaître, sur la foi d’écrivains sans âme, qui ont pillé tes trésors en te dénigrant, on osait naguère encore dans la moitié de l’Europe t’accuser de barbarie!...
Oh Shakespeare! Shakespeare! thou whose first years of work were scarce noticed at the time; whose history is well nigh as unknown, as mysterious as that of Ossian, of Homer. What golden footsteps hath thy genius left behind! And yet how rarely art thou understood! Great nations worship and adore thee, it is true! very true! Yet others discard, blaspheme thy works. Without knowing thee, half Europe, not long ago, echoing the sentiments of a few soulless writers, who, while they pillaged thy works, sought to tread thee into the dust, dared to call thee a barbarian!...
啊， 莎 士 比 亞！ 莎 士 比 亞！你早年的作品無人知 曉，經歷如莪相和荷馬一 樣神秘，你的才華留下何 其耀目的痕跡！可是很少 人明白你！偉大的民族崇 拜你、敬仰你，真的！真 的！但竟有許多其他人褻 瀆 你！ 不 久 之 前， 半 個 歐洲的人都不理解你，附 和少數欠缺靈魂的作者， 侵吞你的作品，踐踏你如 糞土，還敢指責你粗俗野 蠻！
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希望屈服於瘋狂 黑暗的混亂 何時，何時才會止息？
永遠為你準備 新一場盛宴 否則，土地上的眾生 將會疲於填飽你的飢餓 否則，眾生將疲於 填飽你的飢餓
時間永恆的腳踏步步進迫 希望屈服於瘋狂 黑暗的混亂 何時，何時才會止息？
不 過， 天 才 最 殘 酷 的 敵 人，並非那些大自然不曾 賦予體會真理和美的能力 的人；就算是他們，假以 時日，還是會有所領會！ 不，敵人是那些住在陳規 慣例的神殿中的人，這些 狂熱的祭司甚至願意將最 崇高的新概念獻祭給他們 愚笨的神，假如他們竟然 想到新概念的話；這些年 幼的理論家，年已八十， 活在成見的海洋中，確信 自己島嶼的海岸就是世界 盡頭；這些老邁的放蕩之 人，橫跨所有年齡，期望 音樂撫慰、奉承和改變他 們，卻不願承認純潔的繆 思可以有更高尚的任務； 尤其是那些褻瀆者，竟膽 敢將腐敗之手伸向大師的 作品，將玷污和毀損喚作 是「改善」，更聲稱這需 要「良好品味」⋯⋯詛咒 他們！他們讓藝術變成荒 唐的侮辱！這些正是聚滿 我們花園和後院的庸俗鳥 兒，傲慢地佇立於最神聖 的雕像之上，當他們弄髒 了朱庇特的前額、海格力 斯的手臂、朱諾的乳房， 卻還滿足自豪得趾高氣 揚，彷彿剛剛下了一顆金 蛋。
Yet not those, to whom Nature hath denied the sense of the beautiful and of truth, are the most cruel enemies of genius, for even they awaken some day and become enlightened. Nay, it is the inhabitants of the temple of jogtrotting, easygoing Tradition, fanatic priests, who would sacrifice to their idiotic divinity all the most sublime ideas of our time, if they had ever been endowed with any. Those young theorists of eighty, who wallow in a sea of prejudice, and believe that the world ceases with the shores of their islands; those old libertines of all ages, who expect music to charm, flatter, divert and caress them; denying the chaste muse all possibility of aspiring to a higher, a nobler mission. But still worse are those who dare to lay their desecrating hands of corruption upon our masterpieces, and to call their horrible mutilations by the name of improvements, for which, as they say, good taste is required…Curse upon them! They degrade Art to a miserable farce; they commit an outrage upon her. They are like chirping sparrows, vulgar birds, in our gardens and backyard, who with their accustomed arrogance, perch themselves upon the most divine statues, and after having dirtied the forehead of a Jupiter, the arm of a Hercules, the breast of a Juno, blow themselves out with conceit, and look around with a triumphant air, as though they had laid a golden egg.
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Mais les plus cruels ennemis du génie ne sont pas ceux auxquels la nature a refusé le sentiment du vrai et du beau; pour ceux-là même, avec le temps, la lumière se fait quelquefois! Non, ce sont ces tristes habitants du temple de la routine, prêtres fanatiques, qui sacrifieraient à leur stupide déesse les plus sublimes idées neuves, s’il leur était donné d’en avoir jamais; ces jeunes théoriciens de quatre-vingts ans, vivant au milieu d’un océan de préjugés et persuadés que le monde finit avec les rivages de leur île; ces vieux libertins de tout âge qui ordonnent à la musique de les caresser, de les divertir, n’admettant point que la chaste muse puisse avoir une plus noble mission; et surtout ces profanateurs qui osent porter la main sur les ouvrages originaux, leur font subir d’horribles mutilations qu’ils appellent corrections et perfectionnements, pour lesquels, disent-ils, il faut beaucoup de goût. Malédiction sur eux! ils font à l’art un ridicule outrage! Tels sont ces vulgaires oiseaux qui peuplent nos jardins publics, se perchent avec arrogance sur les plus belles statues, et, quand ils ont sali le front de Jupiter, le bras d’Hercule ou le sein de Vénus, se pavanent fiers et satisfaits comme s’ils venaient de pondre un œuf d’or.
Oh! une pareille société, pour un artiste, est pire que l’enfer! J’ai envie d’aller dans le Royaume de Naples ou dans la Calabre demander du service à quelque chef de Bravi, dusséje n’être que simple brigand... J’y ai souvent songé... Oui! de poétiques superstitions, une madone protectrice, de riches dépouilles amoncelées dans les cavernes, des femmes échevelées, palpitantes d’effroi, un concert de cris d’horreur accompagné d’un orchestre de carabines, sabres et poignards, du sang et du lacrymachristi, un lit de lave bercé par les tremblements de terre, allons donc, voilà la vie!...
Away, away, hence, oh artist; get thee way from a society worse than hell itself! Away to the mountains of Naples or Calabria, to some bandit-chief, even though thou do humblest service there. I dreamt I was there… Ah, yes! Poetic dreams and superstitions, a Madonna my favourite Saint, and patroness, rich spoil heaped up in caves, women with dishevelled hair, trembling with fear, a chorus of cries of horror, an orchestra of carbines, swords, sabres and daggers, blood and tears of Christ; resting on a bed of lava, rocked to sleep by an earthquake… Yes, yes, that’s a life…
啊！藝術家們，遠離這比 地獄更不堪的社會吧！ 我希望到那不勒斯或卡拉 布里亞的王國，懇求為布 拉維的酋長服務，即使我 只是一介盜賊⋯⋯我夢到 我在那裏⋯⋯對！充滿詩 意的夢境和迷信，保護我 們的聖母，想到堆積在洞 窟裡的豐厚寶藏，女人頭 髮散亂，因恐懼而顫動， 驚 呼 組 成 歌 聲， 伴 以 步 槍、軍刀和匕首的管弦樂 團，想到基督的血與淚， 一張被地震擊中而晃動的 熔岩之床，對，對，那就 去吧，那正是值得浪擲的 生命！⋯⋯
III. Chanson de brigands
III. Song of the Brigands
III. 盜賊之歌
LE CAPITAINE
THE CAPTAIN
隊長
J’aurais cent ans à vivre encore, Cent ans et plus, riche et content...
Were 100 years of life ‘fore me, With Dame Fortune for my wife...
我還有一百年可活
CHŒUR
CHORUS
合唱團
La la le ra, la la la le ra la.
La la le ra la la la le ra la.
啦啦呢啦，啦啦啦呢啦啦
LE CAPITAINE
THE CAPTAIN
隊長
J’aimerais mieux être brigand Que pape et roi que l’on adore. Franchissons rochers et torrents!
I’d rather choose a brigand’s life, Than be pope, and all adore me. Then away to the green woods, all!
我寧願當個盜賊
CHŒUR
CHORUS
合唱團
Franchissons rochers et torrents!
Then away to the green woods, all!
讓我們闖過亂石與激流！
LE CAPITAINE
THE CAPTAIN
隊長
Ce jour est un jour de largesses. Nous allons boire à nos maîtresses Dans le crâne de leurs amants!
We’ll drink today ’neath love’s caresses, When each a maid to his bosom presses, Her lover’s skull our drinking bowl!
今天是豐厚的一天
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富有而快樂的日子⋯⋯
不當我們敬愛的教宗與國王 讓我們闖過亂石與激流！
讓我們為情婦暢飲 用她們愛人的頭顱乾杯！
合唱團
CHORUS
CHŒUR
來吧，淌淚的美麗人兒 對撫慰期待不已 為愛而流的眼淚會逐漸變異 讓我們唱起快樂的讚美詩！
And when their burning tears are flowing, we comfort them, console their woe, and change their tears of grief that flow, into love glowing!
Allons, ces belles éplorées Demandent des consolateurs; En pleurs d’amour changeons ces pleurs, Formons de joyeux hyménées!
在山岳間，在古老的修道院 每人都需要懺悔 才能為情婦暢飲如願 用她愛人的頭顱乾杯
First to confession, comrades, all! Relieve the heart with sin o’erladen, E’en e’ere we pledge thy health, Thy lover’s skull our drinking bowl!
A la montagne, au vieux couvent Chacun doit aller à confesse Avant de boire à sa maîtresse Dans le crâne de son amant.
隊長
THE CAPTAIN
LE CAPITAINE
左拉不願苟存 比勇敢而英俊的捍衛者長壽
Fair Zora asked to die, despairing, When her lover fell ‘neath my sword.
Zora ne voulait pas survivre A son brave et beau défenseur.
合唱團（爆出笑聲）
CHORUS (loud laughing)
CHŒUR (éclats de rire)
啊！啊！啊！啊！啊！啊！
Ha ha ha ha ha ha!
Ah! ah! ah! ah! ah! ah!
合唱團
CHORUS
CHŒUR
帶到激情的山巖！
Into the cave!
Au roc ardent!
隊長
THE CAPTAIN
LE CAPITAINE
一夜過去，酒醉讓她失常 她以愛人的頭顱盛起 吞沒自己的悲傷
Long before the sun was sunken Forgetfulness her soul had drunken From the skull of her lover dead.
Le lendemain, folle d’ivresse, Elle avait noyé sa tristesse Dans le crâne de son amant.
隊長與合唱團
THE CAPTAIN AND CHORUS
E CAPITAINE ET LE CHŒUR
忠誠而溫柔的鴿子 你們的騎士已逝！ 為你們而死乃天命所指 走過墓前請輕步致禮！ 更多悲愴將接踵而至 隨機的榮耀將我們化作一體！ 沒錯，沒錯，我們會舉杯互致 以你愛人的頭顱盛酒 他啦啦啦啦啦啦 啦啦啦呢啦啦 離開這國家吧！ 年長的隱士正等待我們 往修道院去！
Weeping hearts so true and tender, Your loves are dead, ‘tis true! It was their lot to die for you. Forget your love, to us surrender! Come, dry your tears obey love’s call! Drink fiery wine to love’s hot kisses, Till hearts glow ‘neath love’s caresses Your lover’s skull your drinking bowl. Tra la la la la la la la la la le ra Leave brooklet and fountain. The aged hermit waits today, We’ll not stay!
Fidèles et tendres colombes, Vos chevaliers sont morts! Mourir pour vous fut leur destin. D’un pied léger foulez leurs tombes! Pour vous plus de tristes moments, Gloire au hasard qui nous rassemble! Oui, oui, nous allons boire ensemble Dans le crâne de vos amants. Tra la la la la la la la la la le ra. Quittons la campagne! Le vieil ermite nous attend. Au couvent!
合唱團
CHORUS
CHŒUR
隊長，我們跟隨你 我們準備就緒
Captain, thy orders we obey, we’ll follow thee.
Capitaine, nous te suivons, nous sommes prêts.
隊長與合唱團
THE CAPTAIN AND CHORUS
LE CAPITAINE ET LE CHŒUR
來吧！往山嶽去！
Away! Home to our mountains!
Allons! à la montagne!
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LÉLIO
LÉLIO
雷里奧
Comme mon esprit flotte incertain!... De ce monde frénétique il passe maintenant aux rêves les plus enivrants. La douce espérance rayonnant sur mon front flétri, la force de se tourner encore vers les cieux... Je me vois dans l’avenir, couronné par l’amour; la porte de l’enfer, repoussée par une main chérie, se referme; je respire plus librement; mon cœur, frémissant encore d’une angoisse mortelle, se dilate de bonheur; un ciel bleu se pare d’étoiles au-dessus de ma tête; une brise harmonieuse m’apporte de lointains accords, qui me semblent un écho de la voix adorée; des larmes de tendresse viennent enfin rafraîchir mes paupières brûlantes des pleurs de la rage et du désespoir. Je suis heureux, et mon ange sourit en admirant son ouvrage; son âme noble et pure scintille sous ses longs cils noirs modestement baissés; une de ses mains dans les miennes, je chante, et son autre main, errant sur les cordes de la harpe, accompagne languissamment mon hymne de bonheur.
How my spirit wanders irresolute. Turning from this world of madness, it gazes upon dream-visions that ravish the senses. Hope, hovering o’er me, smoothes the furrowed brow of care, and pointing to the star-lit heavens, bids my spirit follow its light… I behold myself as in the future—crowned by Love. The gates of Hell are closed, forced back, on their ponderous hinges, by a loving, beloved hand. I breathe freely once more; my heart, still atremble with deadly fear and anguish, dilating, lets in the bright, warm beams of joy and happiness, and, upward gazing, my tear-worn eyes behold the blue of heaven. Melodious zephyrs waft to me the sound of chords struck to strains of distant music, like the echo of a voice I love. Refreshing dew of delight falls upon mine eye-lids, which but a moment ago burned with the tears of despair and rage…Happiness is mine, and, with a smile of heavenly delight, mine Angel looks down upon her work. The glory of her pure and noble soul scintillates beneath the long lashes half-closed with modesty. Her hand rests in mine; I sing, and her other hand sweeps the strings of her harp, stirring them to an accompaniment of my Song of Bliss.
我的思緒飄忽不定！⋯⋯ 現在我的思緒從這狂亂的 世界轉入最令人陶醉的夢 裏。甜美的希望在我衰老 的額前閃耀，指向繁星點 點的天堂⋯⋯我預見自己 將來會戴上愛情的冠冕； 地獄之門因愛人揮手驅逐 而關上；我可以更自由地 呼吸；我的心，雖然仍因 致死的痛苦而顫抖，卻因 喜樂而擴張；在我頭上， 藍天有眾星裝飾；一道和 諧的風將遙遠的和弦帶 來，聽來就像我所喜愛的 聲音的迴聲一般；我本因 憤怒和絕望流淚，熾熱的 眼瞼終於再一次因溫柔的 眼 淚 而 涼 爽。 我 快 樂 起 來，我的天使一邊欣賞自 己的工作，一邊掛着無比 歡欣的微笑；她那高貴而 純潔的靈魂在幽黑的長睫 毛下閃爍，眼睛因謙遜而 低垂；我緊握她的手，歌 唱 起 來， 而 她 以 另 一 隻 手，輕撫豎琴的弦，徐緩 地伴着我那祝福之歌。
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IV. 祝福之歌
IV. Song of Bliss
IV. Chant de bonheur
雷里奧幻想的聲音
THE IMAGINARY VOICE OF LÉLIO
LA VOIX IMAGINAIRE DE LÉLIO
我的快樂，我的生命啊 我的穹蒼！
Oh thou, my joy in anguish, oh, thou my source of life, my soul, my God, mine all!
Ô mon bonheur, ma vie, Mon être tout entier, mon Dieu, mon univers!
你的美好中有 我羡妒的事嗎？ 我看見你，你展露笑顏 天堂便向我開敞！ 我們被愛情灌醉 熾熱難耐 這種溫柔的憂鬱更令人垂涎 讓你那迷人的頭顱歇息 棲宿在我臂內！ 來吧，來吧！ 躺在我焦慮的心弦 讓我神迷的愛人 閉上你那美麗的眼睛入眠！
Let me not plead in vain; let me not languish! On thy face would I gaze. Come, love, oh come to my call! Hot passions, burning kisses consume the heart aglowing, ‘Tis far sweeter in soft embrace; Come, lay thy head upon my arm, heed not thy locks loose flowing, Come! come! ‘neath roses softly blowing, Rest thee, sweet, sleep, and dream, slumber on thy lover’s breast.
Est-il auprès de toi quelque
雷里奧
LÉLIO
LÉLIO
啊，為甚麼！我心中呼喚 的那位茱麗葉，那位奧菲 利亞，怎樣也找不着她； 為甚麼！那杯被她雙唇吻 過、糅合了悲傷和甜蜜的 愛 情 之 酒， 怎 樣 也 喝 不 着；為甚麼！不能在某個 秋日垂暮，在北風吹拂的 荒 野， 躺 在 她 懷 抱 裏 沉 沉睡去，告別塵世⋯⋯見 證我倆這些幸福日子的朋 友們，會親自在橡樹下替 我們掘墳，在蔓生的枝椏 上掛起失去主人的豎琴， 好讓琴弦接受微風的吻， 拂動葉子，呼出微弱的和 聲，歸於嘆息。朋友，在 墳邊坐下來吧，回想我的 訣 歌， 糅 合 這 葬 禮 的 音 樂， 交 織 出 熱 淚， 衝 擊 出顫動，並在當中幻想時
Oh, why cannot I find that Juliet, that Ophelia, for whom my heart is pining! Why may not also I drink from the cup of sad sweet sorrow which Love offers us, first touched by her lips! Why not, on some autumn evening, cradled in her arms and fanned by the north wind sweeping the heath, close my eyes in the last deep sleep!...Then, some friend, silent witness of our happy days of love, would with his own hand, dig us a grave at the foot of an aged oak…and hang upon its stretching boughs the orphaned harp, whose strings, caressed by the wind stirring the trembling leaves, would breathe its last faint harmonies unto the sighing air. Then sitting down beside our
Oh! que ne puis-je la trouver, cette Juliette, cette Ophélie, que mon cœur appelle! Que ne puis-je m’enivrer de cette joie mêlée de tristesse que donne le véritable amour; et un soir d’automne, bercé avec elle par le vent du nord sur quelque bruyère sauvage, m’endormir enfin dans ses bras d’un mélancolique et dernier sommeil!... L’ami témoin de nos jours fortunés creuserait lui-même notre tombe au pied d’un chêne, suspendrait à ses rameaux la harpe orpheline, qui, doucement caressée par le sombre feuillage, exhalerait encore un reste d’harmonie. Le souvenir de mon dernier chant de bonheur se mêlant à ce concert funèbre ferait couler ses larmes, et il sentirait dans
我的所有、我的神
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bien que j’envie? Je te vois, tu souris, les cieux me sont ouverts! L’ivresse de l’amour pour nous est trop brûlante, Ce tendre abattement est plus délicieux. Repose dans mes bras, repose cette tête charmante! Viens! Viens! ô ma rêveuse amante, Sur mon cœur éperdu. Viens clore tes beaux yeux!
ses veines un frisson inconnu, en songeant au temps... à l’espace... à l’amour... à l’oubli...
grave, that friend would recall my last song, which mingling with this funereal strain, would bring a tear of compassion to his eye, and with a shudder, he would dream of time and space…of love…and…oblivion…
間和空間⋯⋯愛情⋯⋯和 ⋯⋯遺忘⋯⋯
V. La harpe éolienne – Souvenirs
V. Aeolian Harp—Memories
V. 風弦琴─回憶
LÉLIO
LÉLIO
雷里奧
Mais pourquoi m’abandonner à ces dangereuses illusions? Ah! ce n’est pas ainsi que je puis me réconcilier avec la vie... La mort ne veut pas de moi... je me suis jeté dans ses bras, elle m’en repousse avec indifférence.
But why abandon myself to these dangerous illusions? They can never reconcile me to life…Death wants me not…discards me, though with pleading heart and lips I threw myself into his arms, he repulsed me with indifference…
但是，為何我要將自己丟 棄於這些危險的幻象之 中？啊！它們不能使我與 生命和解⋯⋯死亡又不接 納我⋯⋯我以乞求的心將 自己投進死亡的懷抱，卻 被冷淡地推開。
And so, I am resolved to live; and sublime art, to which I owe those rare bright moments of happiness that lighted up my sombre existence, shall console me, and shall be my companion through the dreary desert o’er which I am destined to wander. Oh, Music, Mistress so pure, so true, so faithful, alike esteemed and adored, thy friend, thy lover calls thee to his aid. Come...reveal thy glorious charms, inebriate me, encircle me with thy magic, seize on my spirit; come forth in thy pride, in thy simplicity, adorned in thy richness of beauty and love; …come!...to thee I render up my heart and soul.
那麼，讓我們活下去吧， 活在崇高的藝術之中，這 些偶爾閃現的快樂照亮我 暗淡的存在，給我慰藉， 並指引我穿越這嚴峻的沙 漠。音樂啊！你這忠誠而 純潔的情婦，既受尊敬也 受愛戴，你的朋友，你的 愛人正喚你去協助！來， 來啊，展現你的魅力，使 我 心 醉； 以 你 的 魔 法 包 圍 我， 以 美 和 愛 雕 琢 的 自尊、簡樸，控制我的心 神！
Vivons donc, et que l’art sublime auquel je dois les rares éclairs de bonheur qui ont brillé sur ma sombre existence, me console et me guide dans le triste désert qui me reste à parcourir! Ô musique! maîtresse fidèle et pure, respectée autant qu’adorée, ton ami, ton amant t’appelle à son secours! Viens, viens, déploie tous tes charmes, enivre-moi, environne-moi de tous tes prestiges, sois touchante, fière, simple, parée, riche, belle! Viens, viens, je m’abandonne à toi. Pourquoi réfléchir?... je n’ai pas de plus mortelle ennemie que la réflexion, il faut l’éloigner de moi. De l’action, de l’action, et elle va fuir. Écrivons, ne fût-ce que pour moi seul... Choisissons un sujet original d’où les couleurs sombres soient exclues... J’y pense, cette Fantaisie sur le drame de "La
Why hesitate, reflecting?… Away with reflection, my most deadly enemy; at the sight of action it will take to flight. I’ll sit me down to earnest work…
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來，來啊，我向你屈服。 為何要反省？⋯⋯除了反 省以外，我再無致命的敵 人了。我必須除掉反省。 行進那一刻，音樂就會逃 竄 去。 坐 下 來 譜 寫 樂 曲 吧，即使只是為了我自己 ⋯⋯我會選擇一個獨創主 題， 摒 棄 所 有 黯 淡 色 彩
⋯⋯讓我想想⋯⋯對了⋯⋯ 就是它！這套以《暴風雨》 為主題的幻想曲，計劃已有 草稿⋯⋯我將開始創作，並 完成它！ 是的，那裏有個魔法師，有 能耐改變天氣，使之風雲色 變，又能轉瞬平靜；對其言 聽計從的友善精靈、一個膽 小的處女、一個滿懷激情的 青年、一個愚笨的野蠻人， 諸多不同的場景以最精彩的 結局作結，荒唐的景象將我 的思緒煞停。精靈組成的合 唱團會肆意穿過管弦樂團， 以一種充滿詩意的悅耳語 言，對美麗的米蘭達甜美地 訴說，又對粗野的卡利班投 以威脅；而我希望這些仙女 的聲音會蒙上一層和諧的浮 雲，隨着他們的閃耀的翅膀 散射出爍光。 是我眾多學生集合的時間 了；讓我將計劃交託給他們 實行！這個年青管弦樂團的 熱切，定必燃亮我心，啟發 我創作和完成作品。來創作 吧！讓那些精靈歌唱嬉鬧！ 讓風雨聚集、爆發、激起雷 電！令腓迪南嘆氣！願米蘭 達甜笑！叫那怪獸卡利班跳 舞嘶喊！讓強大的普洛斯彼 羅 發 出 威 脅 的 指 令， 而 此 刻，請莎士比亞保護我！
compose…even if only for myself…I’ll choose an original subject, excluding all sombre tints and dark colourings and hues…yes that’s it!... a Fantasia on Shakespeare’s Tempest… I have already sketched it… now to work…and finish it! There’s a magician, who has it in his power to stir up the elements to rage and roar, and to becalm them again at his will; friendly spirits that obey him, a timid maiden, a passionate youth, a blundering monstrous savage, and all these varied scenes brought to a climax by a brilliant solution, my thoughts thus occupied and arrested by the most laughable pictures. Whole choruses of airy spirits flung capriciously thwart the orchestra, speaking to fair Miranda in melodic, harmonious strains, the sweetest language fraught with poetry, then casting threats in boisterous accents at the awkward brute Caliban. And the voices of my sylphs shall be carried on light clouds of harmony, aglow and brilliant with the magic splendour of their dazzling wings… At this very moment my numerous pupils must be assembling; they shall be entrusted with the execution of my plan. The ardour of this young orchestra is sure to set my chilled heart aglow, and inspire me to again take up my work and finish it. To work then! And let the spirits sing, frolic and tumble in mid-air; let
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Tempête", dont le plan est déjà esquissé... je puis l’achever. Oui, un magicien qui trouble et apaise à son gré les éléments, de gracieux esprits qui lui obéissent, une vierge timide, un jeune homme passionné, un sauvage stupide, tant de scènes variées terminées par le plus brillant dénouement, arrêtent ma pensée sur de plus riants tableaux. Des chœurs d’esprits de l’air capricieusement jetés au travers de l’orchestre adresseront, dans une langue sonore et harmonieuse, tantôt des accents pleins de douceur à la belle Miranda, tantôt des paroles menaçantes au grossier Caliban; et je veux que la voix de ces sylphes soit soutenue d’un léger nuage d’harmonie, que brillantera le frémissement de leurs ailes. Justement voici l’heure où mes nombreux élèves se rassemblent; confions-leur l’exécution de mon esquisse! L’ardeur de ce jeune orchestre me rendra peut-être la mienne; je pourrai reprendre et achever mon travail. Allons! que les esprits chantent et folâtrent! que la tempête gronde, éclate et tonne! que FERDINAND soupire! que MIRANDA sourie tendrement! que le monstrueux CALIBAN danse et mugisse! que PROSPERO commande en menaçant, et que SHAKESPEARE me protège!
Laissez la place pour le piano! ici! ici!... vous ne comprenez donc pas qu’ainsi tournés les pianistes ne verront pas le chef d’orchestre!... Encore plus à droite... bien... Nous allons essayer ma Fantaisie sur "La Tempête" de Shakespeare. Regardez le plus souvent possible les mouvements de votre chef; c’est le seul moyen d’obtenir cet ensemble nerveux, carré, compact, si rare même dans les meilleurs orchestres. Les chanteurs ne doivent pas tenir leur cahier de musique devant leur visage; ne voyezvous pas que la transmission de la voix est ainsi plus ou moins interceptée?... N’exagérez pas les nuances, ne confondez pas le mezzo-forteavec le fortissimo! Pour le style mélodique et l’expression, je n’ai rien à vous dire; mes avis seraient inutiles à ceux qui en ont le sentiment, plus inutiles encore à ceux qui ne l’ont pas... Encore un mot: Vous, Messieurs, qui occupez les derniers gradins de l’estrade, tenez-vous en garde contre votre tendance à retarder! Votre éloignement du chef rend cette tendance encore plus dangereuse. Les quatre premiers violons et les quatre seconds violons soli ont des sourdines?... Bien, tout est en ordre... Commencez!
the tempest rise and roar, the lightning flash, the thunders roll! FERNANDO shall sigh, and MIRANDA smile sweetly! Brute CALIBAN shall dance and bellow, and mighty PROSPERO shall command in threats, and now, oh great SHAKESPEARE be thou my stay! Leave room for the piano! Here, this way! Do you not see that with it in such a position, the pianists will not be able to see the conductor! Still more to the right…There! that will do! We are going to try my Fantasia on Shakespeare’s Tempest. Watch and follow the beat of your conductor as closely as possible. That is the only way to obtain a perfect, harmonious and concerted ensembleplaying, broad, nervy and full of pith, qualities rarely found even in the best orchestras. The singers must be careful not to hold their music right in front of their faces, as the sound of the voice cannot then travel nor expand freely. Do not exaggerate the expressionmarks, nor mistake mezzoforte for fortissimo. I will not dwell upon melodic style and expression; any such remarks are superfluous for those gifted with musical feeling, and would be lost upon those lacking that gift. One word more: The gentlemen occupying the last rows of the platform will carefully guard against any tendency to drag or retard, a tendency enhanced by your
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讓點空間給鋼琴！這裏， 這裏！⋯⋯你並不知道， 把鋼琴這樣轉，琴師會看 不見指揮！⋯⋯再往右轉 一點⋯⋯很好⋯⋯ 我們會試奏我取材自莎士 比亞《暴風雨》的幻想曲。 盡量觀察和遵從指揮的拍 子；這是唯一令樂團奏出 完美、和諧、協調的和弦 的方法，就算是最好的管 弦樂團也難以做到。 歌者不應把樂譜放在臉 前；這樣或多或少會阻礙 聲線傳播。不要誇大表情 記號，不要將中等強度與 極強音搞亂！對於旋律的 風格與表現，我沒話可說 了；對於可以感受到音樂 的人，我的意見並無用處； 對於感受不了的人，就更 無 用 處 ⋯⋯ 最 後 一 句： 站在舞台最後排的那些男 士，會細心監察你們，防 止出現延誤，你們與指揮 距離太遠，很容易出現這 種傾向。四位第一小提琴 和四位第二小提琴裝了弱 音器了嗎？⋯⋯好，一切 準備就緒⋯⋯開始吧！
being so far away from the conductor. I suppose the four first and the four second soloviolinists have got their mutes with them?—That’s right! All is in order. Then let us commence!
VI. 莎士比亞《暴風雨》 幻想曲
VI. Fantasy on Shakespeare’s Tempest
VI. Fantaisie sur la Tempête de Shakespeare
空中精靈合唱團
CHORUS OF AIRY SPIRITS
CHŒUR D’ESPRITS DE L’AIR
米蘭達！米蘭達！
Miranda! Miranda! Someone is destined to you as a groom, You will know love. Miranda, from a new life The aurora arises for you Miranda, farewell, Miranda! Miranda! Let yourself, and your spouse, be happy. Caliban! Horrid monster. Fear the disdain of Ariel. Oh Miranda, I urge you, go! Oh Miranda, we’ll never meet again On the breezes of our shores, We seek in vain The splendid and sweet flower That blooms on this earth. We’ll meet no more, sweet flower. Farewell! Farewell! Miranda, farewell!
Miranda! Miranda! Vien’ chi t’è destinato sposo, Conoscerai l’amore. Miranda, d’un novello viver L’aurora va spuntando per te. Miranda, addio, Miranda! Miranda! e desso, e tuo sposo, sii felice! Caliban! Horrido mostro! Temi lo sdegno d’Ariello! O Miranda, ei t’adduce, tu parti! O Miranda, no ti vedrem, ormai Delle piaggie dell’aura nostra sede, Noi cercarem invano Lo splendente e dolce fiore Che sulla terra miravan. No ti vedrem ormai, dolce fiore. Addio! Addio! Miranda, addio!
注定有人成為你的新郎 你會懂得愛情 米蘭達，一段嶄新的生命 極光為你昇起 米蘭達，再見 再見了，米蘭達！ 米蘭達！願你與丈夫幸福 卡利班！那可怕的怪物 因愛麗兒的輕蔑而畏懼吧 米蘭達啊，求你快離去！ 米蘭達啊，我們再不會 在海岸的風中相見 我們尋求 在這土地上綻放的 艷麗甜美的花朵而不果 我們再不會看見你了 甜美的花朵 再見！再見！ 再見了，米蘭達！
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LÉLIO
LÉLIO
雷里奧
Assez pour aujourd’hui! Votre exécution est remarquable par la précision, l’ensemble, la chaleur; vous avez même reproduit plusieurs nuances fort délicates. Vos progrès sont manifestes; je vois que vous pouvez aborder maintenant des compositions d’un ordre beaucoup plus élevé que cette faible esquisse. Adieu, mes amis! je suis souffrant; laissez-moi seul!
That will do for today. Your playing is remarkable for its precision, expression and the manner in which you all play together; even some of the most delicate shadings were rendered with nuance. You have indeed made progress, so much so that we may henceforth attempt works of greater depth than this feeble sketch. But now good bye, friends, I am exhausted; leave me alone.
今天夠了！你們的表現精 準、一致、溫暖，值得讚 許；你們甚至演奏出一些 非常細膩的音色。你們的 進展明顯；演奏過這平庸 的 作 品， 我 知 道 你 們 以 後可以處理更深奧的樂曲 了。朋友，再見了！我已 筋疲力歇，留我獨自一人 吧！
Encore! Encore, et pour toujours!...
再來！ 再來，直到永遠！⋯⋯
Once more! Once more – and forever!...
English text adapted from translation by John Bernhoff, published in Hector Berlioz Werke, Serie V, Band 18 (Breitkopf und Härtel: 1900–1907). 英文版本由約翰．伯恩霍夫翻譯，《白遼士作品集》第五卷第十八冊，Breitkopf und Härtel 於 1900 年至 1907 年出版
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麥森．帕斯高是這一代最全能、有遠見及令人期待的藝 術家之一，更於 2 0 1 4 年 3 月成為第一位雀巢與薩爾斯 堡藝術節青年指揮家大獎的法裔得主。他帶着驕人的成 績，與法國頂尖樂團合作，包括巴黎歌劇院樂團、圖魯 茲首都交響樂團、波爾多國家管弦樂團和里爾國家管弦
麥森．帕斯高
Maxime Pascal 指揮 Conductor
樂團。此外還與德國慕尼黑愛樂管弦樂團、西南德廣播 管弦樂團、慕尼黑室內管弦樂團、奧地利馬勒青年管弦 樂團和德國音樂工廠樂團。 帕斯高是多元藝術團體陽台樂團的創團成員之一，融合 音樂與前衛的音響和燈光技術，創造出獨特而別具個性 的音樂表演，為觀眾帶來精彩震撼的音樂體驗。陽台樂 團最為人熟知的作品包括拿札特的《納克索斯的阿莉安 妮》、由哥倫比亞藝術家尼托創作以《月光小丑》為基 調的影像作品，以及渥費殊的室內歌劇《陽台》。帕斯 高與皮埃爾．布列茲、喬治．班傑明和米高．列維勒斯 合作，以白遼士的《幻想交響曲》為靈感，於 2016 年 推出他們的第一張專輯。 除了與陽台樂團合作以外，帕斯高於近幾個樂季為不同 樂團擔任指揮，包括薩爾斯堡室樂團在對話藝術節的演 出、圖魯茲首都交響樂團、馬爾莫歌劇院管弦樂團、東 京愛樂交響樂團（作為巴黎歌劇院芭蕾舞團在東京文化 會館的駐團藝術家）、意大利青年管弦樂團在斯波萊托 藝術節和維也納廣播交響樂團在薩爾斯堡音樂節的演 出。
2018 年 7 月完成沙連諾最新歌劇作品的演出後，帕斯高 將於 2018 / 19 樂季回歸柏林國家歌劇院，帶來德布西的 作品《佩利亞斯與梅麗桑德》。此外，他將再次與巴黎 歌劇院合作。其他演出包括與丹麥國家交響樂團和意大 利國家廣播交響樂團的首度合作，以及帶領法國世紀樂 團於香港藝術節進行他的亞洲首演。他亦會先後於巴黎 喜歌劇院、波爾多演藝廳和倫敦南岸藝術中心為施托克 豪森的《星期四之光》擔任指揮。本樂季的壓軸演出將 會以作品《星期六》開始，為巴黎音樂城長達數年的大 型項目《光》拉開序幕。 帕斯高生於音樂家庭，自小在出生地法國南部的卡爾卡 頌學習鋼琴和小提琴。2005 年入讀巴黎國家高等音樂舞 蹈學院，師從指揮家弗朗索瓦 - 格扎維爾．羅特等名師。
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© Meng Phu
One of the most exciting, versatile and visionary artists of his generation, Maxime Pascal became the first Frenchman to win the Nestlé and Salzburg Festival Young Conductors Award in March 2014. This tremendous success led him to prominent French orchestras, such as Orchestre de l'Opéra National de Paris, Orchestre National du Capitole de Toulouse, Orchestre National Bordeaux Aquitaine and Orchestre National de Lille, as well as the Münchner Philharmoniker, SWR Sinfonieorchester, Münchener Kammerorchester, Gustav Mahler Jugendorchester and Ensemble Musikfabrik. A founding member of the multi-faceted artistic group Le Balcon, Maxime Pascal has developed a unique, personal vision of musical performance, which combines music with advanced sound and lighting systems to create a striking and radical experience for spectators. Le Balcon’s most notable projects to date include Ariadne auf Naxos staged by Benjamin Lazar, a video spectacle on Pierrot Lunaire created by the Colombian artist Nieto, and a chamber opera Le Balcon by Peter Eötvös. Maxime Pascal and Le Balcon have collaborated with Pierre Boulez, George Benjamin and Michaël Lévinas. September 2016 saw the release of their debut album featuring a loose adaptation of Berlioz’ Symphonie Fantastique. Beyond his work with Le Balcon, in recent seasons Maxime Pascal has conducted Camerata Salzburg at Dialogue Festival, Orchestre National du Capitole de Toulouse, Malmö Opera Orchestra, Tokyo Philharmonic Orchestra as part of the Bunka Kaikan residency with the Ballet of Opéra de Paris, Orchestra Giovanile Italiana at Spoleto Festival and ORF Radio-Sinfonieorchester Wien at Salzburger Festspiele. In 2018/19 Maxime returns to Berliner Staatsoper in Debussy’s Pelléas et Mélisande, after leading the production of Salvatore Sciarrino’s new opera in July 2018. He also works with Opéra national de Paris again. Other highlights include debuts with the Danish National Symphony Orchestra, Orchestra Sinfonica Nazionale della Rai, and an Asian debut at the Hong Kong Arts Festival conducting Les Siècles. Pascale also conducts Stockhausen’s Donnerstag aus Licht at Opéra Comique, which he will then take to Auditorium de Bordeaux and London’s Southbank Centre. Later in the season, he will start a multi-year Licht project at Cité de la Musique, starting with Samstag. Born into a musical family, Maxime Pascal began his studies on piano and then violin at an early age in his native city of Carcassonne. In 2005, he was admitted to the Conservatoire National Supérieur de Musique et de Danse de Paris, where one of his mentors was François-Xavier Roth.
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丹尼爾．梅斯基
Daniel Mesguich 旁白 Narrator
©Nathalie Mazéas
丹尼爾．梅斯基曾就讀於馬賽音樂學院，後於 巴黎修讀哲學，在巴黎國家高等戲劇藝術學院 跟隨名導演安東尼．維泰茲和著名演員皮埃爾． 德布什學習，後來更成為學院最年輕的教授， 在 1983 年至 2014 年間任教，其中於 2007 年至
2014 年擔任總監。 梅斯基曾導演過百部舞台劇和十五齣歌劇，在法 國及世界各地各個重要的表演場地上演。此外 他也演出了超過四十套電影，包括米歇爾．德 維爾、哥斯達 - 加華斯、杜魯福、羅伯 - 格里耶 和亞里安．莫努虛金等導演的作品，以及三十 多部電視電影（包括《白遼士》）。舞台作品 方面，除了演出自己導演的劇目之外，他亦參 演羅伯特．侯賽因、維德志、米蓋爾的作品。 此外，梅斯基亦以旁白的身份與音樂界的重要 人物合作，以及在多個文學活動誦讀文學作品。 他曾為法國聖但尼的傑拉 - 菲利普劇院和巴黎北 方劇院兩個國立戲劇藝術中心的總監。 梅斯基除了發表無數關於劇場的論文外，亦有 出版多本著作、翻譯作品、話劇劇作《大道》 及歌劇劇本《沙之信》。
After a period at the Conservatoire de région de Marseille, Daniel Mesguich studied philosophy in Paris and under Antoine Vitez and Pierre Debauche at the Conservatoire national supérieur d’art dramatique. He was later the youngest professor to be named to the Conservatoire, where he taught from 1983 to 2014 and served as director from 2007 to 2014. Mesguich has directed over one hundred plays and fifteen operas on the most important stages in France and around the world. He has acted in some forty films, by, among others, Michel Deville, Costa-Gavras, François Truffaut, Alain Robbe-Grillet, and Ariane Mnouchkine, and some thirty madefor-TV movies (including Berlioz). On the stage, he has acted in his own plays, as well as in plays directed by Robert Hossein, Antoine Vitez and JeanPierre Miquel. Mesguich also performs as narrator alongside major musical figures and reads texts at numerous literary events. He has also directed two National Arts Centres for Theatre (CDN): the Théâtre Gérard-Philipe in Saint-Denis and the Théâtre National Lille-Tourcoing Région Nord/Pasde-Calais (La Métaphore). Apart from numerous theoretical articles on theatre, Daniel Mesguich is also the author of numerous books, translations, a play (Boulevard du boulevard du boulevard) and an opera libretto (La Lettre des sables).
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雷內．拉莫斯．普米爾
René Ramos Premier 男中音 Baritone
© marionbarat
雷內．拉莫斯．普米爾出生於古巴聖地牙哥， 八歲開始學習鋼琴，後於伊斯特班音樂學院修 讀合唱指揮和音樂學。在夏灣拿的國家藝術大 學學習古典聲樂期間，參與包括著名的古巴國 家交響樂團、「藝術永恆」樂團和李奧聲樂樂 團的多個演奏會和音樂節，慢慢踏上國際舞台。 普米爾為西維．古拉斯的夜曲合唱團和李奧． 華利斯基的「變化」和聲合唱團成員，曾參與 演出多位古巴當代作曲家的作品。他演出的作 品多不勝數，其中為人熟悉的包括威爾第的《茶 花女》、莫札特的《唐．喬望尼》、蒙東維爾 的《深深處》、韓德爾的《彌賽亞》、羅西尼 的《小莊嚴彌撒曲》、佛瑞和布拉姆斯的安魂 曲，以及巴赫的《聖誕節清唱劇》。
A native of Santiago, Cuba, René Ramos Premier began his musical studies at the age of eight as a pianist. He then studied choral direction and musicology at the Esteban Salas Regional Conservatory of Music and, later, classical singing at the ISA University of Arts in Havana. While there, he participated in numerous concerts and festivals with the prestigious National Symphonic Orchestra of Cuba, Ars Longa and Vocal Leo, leading him towards the international stage. He has participated in several works created by contemporary Cuban composers as a member of the Nocturnal choir directed by Silvie Colas and the Les Métaboles ensemble directed by Léo Warynski. He has, notably, played roles in Verdi’s La Traviata and Mozart’s Don Giovanni, Mondonville’s De Profundis, Handel’s Messiah, Rossini’s Petite messe solenelle, the Requiems of Fauré and Brahms, and Bach’s Christmas Oratorio, among others.
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米高．史莫活
Michael Smallwood 男高音 Tenor
澳洲男高音米高．史莫活在墨爾本大學修讀法 律學位，同時開始進行聲樂訓練。他在維多利 亞藝術學院、澳洲國家音樂學院和紐約茱利亞 學院完成學業後，在 2001 年加入享有盛譽的漢 堡國家歌劇團，其後成為歌劇團成員。 他曾於歐洲和美國多個劇院工作，包括聖達菲 歌劇院、巴黎歌劇院、格蘭特堡歌劇院、維也 納劇院、佛萊明歌劇院、里昂歌劇院、波爾多 歌劇院、第戎歌劇院、芝加哥歌劇院、卡爾斯 魯厄巴登國家劇院、柏林德意志國家歌劇院、 柏林喜歌劇院、巴塞隆拿李世奧歌劇院、荷蘭 阿姆斯特丹國家歌劇院和卡瑟爾歌劇院。他在 音樂節的演出包括拉維尼亞音樂節、亞斯本音 樂節、墨爾本國際藝術節、魯爾藝術節、林肯 中心藝術節和韓德爾音樂節。 在歌劇和音樂會方面，他曾與多個傑出的指揮合 作，如伊夫．阿貝爾、丹尼爾．巴倫波因、米高． 博德、康斯坦丁諾斯．卡迪斯、理查．法涅斯、 馬雷克．楊諾夫斯基、弗拉基米爾．尤洛夫斯 基、弗里德曼．雷雅、恩葛．梅茲馬赫、托馬斯． 尼托皮奧、朱利亞斯．魯德爾、伍爾夫．舒爾 瑪、史蒂芬．斯隆、史蒂芬．史托爾泰茲、卡 爾 - 海因茨．斯蒂芬斯和伊蘭．沃爾科夫。史莫 活是廣受歡迎的巴羅克音樂演奏家，曾與多個 歐洲舉足輕重的音樂總監於歌劇及音樂會合作， 包括威廉．克里斯蒂、雷內．雅各布斯、夏菲． 比松、亞歷山卓．迪瑪齊和珍．葛羅佛等等。
2018/ 19 樂季演出包括：在柏林演出由賽門．拉 圖指揮的新製作《希波呂托斯與阿麗西》，以 及在普羅旺斯 - 艾克斯音樂節的首演。
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The Australian tenor Michael Smallwood commenced vocal training while completing a law degree at the University of Melbourne. After studies at the Victorian College of the Arts, the Australian National Academy of Music and New York’s Juilliard School, he entered the prestigious Opera Studio of the Hamburg State Opera in 2001, later becoming a member of the ensemble. He has worked in many major houses in Europe and the US, including The Santa Fe Opera, Opéra National de Paris, Glyndebourne, Theater an der Wien, The Flemish Opera, Opéra de Lyon, Opéra National de Bordeaux, Opéra de Dijon, Chicago Opera Theater, Badisches Staatstheater, Deutsche Staatsoper, the Komische Oper Berlin, Barcelona’s Liceu, the Nederlanse Opera, and the Staatsoper Kassel. Festival appearances have included: Ravinia, Aspen, the Melbourne International Festival of the Arts, the Ruhr Triennale, Lincoln Center Festival and the Händel Festspiele. In opera and concert, he has worked with many important conductors including Yves Abel, Daniel Barenboim, Michael Boder, Constantinos Carydis, Richard Farnes, Marek Janowski, Vladimir Jurowski, Friedemann Layer, Ingo Metzmacher, Tomaš Netopíl, Julius Rudel, Ulf Schirmer, Steven Sloane, Stefan Soltesz, Karl-Heinz Steffens and Ilan Volkov. A sought-after performer of baroque music, his has appeared in opera and concert with some of Europe’s most important musical directors, including William Christie, René Jacobs, Raphäel Pichon, Alessandro de Marchi and Jane Glover, among others. The 2018/19 season includes a new production of Hippolyte et Aricie in Berlin conducted by Simon Rattle, and his debut at the Festival d’Aix-en-Provence.
阿德里安．拉．馬卡
Adrien La Marca 中提琴 Viola
法國中提琴家阿德里安．拉．馬卡年幼時 在 普 羅 旺 斯 - 艾 克 斯 開 始 學 習 音 樂。 他 在
2 0 0 5 年被巴黎音樂學院錄取，師承尚．蘇 霖。在 2 0 0 8 年，他加入瑞士小澤征爾國際 音樂學院，並跟羅伯特．曼、帕梅拉．弗蘭 克、今井信子、原田禎夫和小澤征爾合作。 他在巴黎音樂學院完成碩士學位後，到萊比 錫參與塔蒂亞娜．瑪蘇蘭科大師班。他之後 到柏林艾斯勒音樂學院跟隨塔貝亞．齊默曼 學習。他曾跟隨的老師有金．卡許卡湘、哈 托．拜魯爾和尤里．巴什梅特。 拉．馬卡在法國羅浮宮音樂廳、埃爾莫宮 殿、里昂拉莫音樂廳、普羅旺斯 - 艾克斯大 劇院、倫敦威格摩爾音樂廳、洛約蒙修道 院、法國音樂城和塞納音樂城的首場演出都 廣受好評。他亦經常參與多個歐美音樂節。 他的室樂伙伴包括阿麗娜．伊貝拉紀莫娃、 奧黛．卡普松、法蘭克．布雷利、尼古拉斯． 安傑利希、艾嘉．莫羅、米歇爾．波特、艾 班弦樂四重奏、莫迪里亞尼四重奏和他的兄 長克利斯汀 - 皮耶．拉．馬卡。 拉．馬卡在 2 0 1 4 年榮獲法國「音樂之光」 大獎的年度新人獎項，並是第十三屆威廉． 普林羅斯中提琴比賽的得獎者。他也是第 一位在巴黎奧賽博物館的前舞台音樂大賽獲 獎的小提琴家。在 2 0 1 0 年，他是奧地利第 十六屆布拉姆斯音樂大賽的決賽入圍者，並 在第十屆泰提斯國際中提琴大賽獲得三個特 別獎項。拉．馬卡獲著名的拉加代爾基金會、 法國人民銀行基金會及金萊茵基金會資助。 在 2 0 1 6 年，他跟鋼琴家湯馬士．霍普合作 錄製他首張唱片《英國之聲》，由唱片公司
French violist Adrien La Marca began his musical studies at a young age in Aix-en-Provence. In 2005, he entered the Paris Conservatoire, where he studied with Jean Sulem. In 2008, he took part in Seiji Ozawa’s International Music Academy in Switzerland, where he worked with Robert Mann, Pamela Franck, Nobuko Imaï, Sadao Harada and Seiji Ozawa. After receiving his Master’s degree at the Paris Conservatoire, he completed a Concertmeister program in Leipzig with Tatjana Masurenko. Then, he studied at the prestigious Hanns Eisler Hoc hsc hule in Berlin with Tabea Zimmermann. Other influential teachers include Kim Kashkashian, Hatto Beyerle and Yuri Bashmet. La Marca made acclaimed debuts at the Auditorium du Louvre, Schloss Elmau, Salle Rameau Lyon, Grand Théâtre de Provence, the Wigmore Hall London, Royaumont Abbey, the Cité de la Musique, and the Seine Musicale. He also participates regularly in numerous festivals in Europe and the US. Chamber music partners include Alina Ibragimova, Renaud Capuçon, Frank Braley, Nicholas Angelich, Edgar Moreau, Michel Portal, the Ebène, the Modigliani Quartet and his brother, Christian-Pierre La Marca. La Marca was named Révélation Soliste Instrumental at the annual Victoires de la Musique (2014), and was a prize-winer at the 13th International William Primrose Competition and the first violinist to win the Avant-scènes Competition at the Musée d’Orsay in Paris (2012). In 2010, he was a finalist in the 16th International Johannes Brahms Competition in Austria and won three special prizes at the 10th International Lionel Tetris Competition. La Marca is a recipient of the prestigious Fondation Lagardère and the Fondation Banque Populaire, for which he is supported by L’Or du Rhin Foundation In 2016, he released his first album, English Delight, with pianist Thomas Hoppe for the label La Dolce Volta.
La Dolce Volta 發行。
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法國世紀樂團
Les Siècles
第一小提琴 First Violins
大提琴 Cellos
François-Marie Drieux (solo) Charles Quentin De Gromard Matthias Tranchant Ingrid Schang Jérôme Mathieu Laetitia Ringeval Fabien Valenchon Pierre-Yves Denis Ian Orawiec Chloé Jullian Blandine Chemin Aymeric De Villoutreys
Catherine Rimer (solo) Amaryllis Jarczyk Pierre Charles Lucile Perrin Hélène Richaud Nicolas Fritot
低音大提琴 Double Basses Stanislas Kuchinski (solo) Marion Mallevaes Cécile Grondard Lilas Reglat Matthieu Cazauran
第二小提琴 Second Violins Martial Gauthier (principal) Marie-Laure Sarhan Anne Camillo Arnaud Lehmann Caroline Florenville Rachel Rowntree David Bahon Jin Hi Paik Jennifer Schiller Julie Friez
長笛 Flutes
中提琴 Violas
單簧管 Clarinets
Vincent Debruyne (solo) Alix Gauthier Satryo Aryobimo Yudomartono Marie Kuchinski Laurent Muller Catherine Demonchy Hélène Barre Camille Chardon
Christian Laborie Jérôme Schmitt
Marion Ralincourt Naomie Gros
雙簧管 Oboes Hélène Mourot Stéphane Morvan
巴松管 Bassoons Michael Rolland Thomas Quinquenel Nathaniel Harrison Aline Riffault
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圓號 Horns
豎琴 Harps
Rémi Gormand Yun-Chin Gastebois Cédric Muller Philippe Bord
Valeria Kafelnikov David Lootvoet
小號 Trumpets
Adrian Salloum Pierre Michel
Fabien Norbert Emmanuel Alemany Pierre Marmeisse Aline Thery
天巴鼓 Timbales
敲擊 Percussions
長號 Trombones
Nicolas Gerbier Guillaume Le Picard Eriko Minami Emmanuel Jacquet
Cyril Lelimousin Jonathan Leroi Damien Prado
鋼琴 Piano
奧菲克萊德號 / 蛇號 Ophicleide / Serpent
Alain Muller Eriko Minami
Patrick Wibart Corentin Morvan
Mécénat Musical Société Générale is the primary sponsor of Les Siècles. The orchestra is also financed by the French Ministère de la Culture et de la Communication and DRAC Hauts-de-France. Since 2011, the orchestra has been supported by the Conseil Départemental de l’Aisne to reinforce its artistic and educational presence on this territory. The orchestra is in residency in the Cité de la Musique et de la Danse of Soissons with the support of the Conseil Départemental de l’Aisne and région Hauts-de-France. The orchestra regularly performs in Hauts-de-Seine with the support of the city of Nanterre. Les Siècles is resident orchestra in Théâtre-Sénart of Lieusaint, and associated artist in Théâtre de Nîmes, in Les Musicales festival in Normandy and Berlioz Festival of La Côte-Saint-André. Les Siècles have a strong partnership with the Philharmonie of Paris and Opéra-Comique Theater. The orchestra is sponsored by the Palazzetto Bru Zane-Centre de musique romantique française, the Echanges and Bibliothèques association and occasionally by the SPEDIDAM, ADAMI, Bureau Export, Institut Français, SPPF and FCM. Les Siècles is an administrative member of the FEVIS and the Association Française des Orchestres, then associated member of SPPF.
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Die Konzertisten
© Yat Ho-tsang
Die Konzertisten（DK）為香港頂尖的室內合唱 團。本樂季，D K 與英國大天使古樂團及其指揮 高恩合作，演出巴赫《B 小調彌撒曲》。DK 近 年參演的香港藝術節節目包括：愛沙尼亞國家 交響樂團及男聲合唱團（2018）、德布西歌劇 《佩利亞斯與梅麗桑德》（2018）、盛宗亮《紅 樓夢》（2 0 1 7）及翩娜．包殊烏珀塔爾舞蹈劇 場《死而復生的伊菲格尼》（2014）。
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Die Konzertisten (DK) is recognised as one of Hong Kong’s foremost chamber choirs. Recent highlights include a collaboration with the period-instrument ensemble Arcangelo and its director Jonathan Cohen on Bach’s Mass in B minor. DK has appeared in previous Hong Kong Arts Festival programmes, including Estonian National Symphony Orchestra & Male Choir (2018), Debussy’s Pelleas et Melisande (2018), Bright Sheng's Dream of the Red Chamber (2017) and Gluck’s Iphigenia in Tauris with Tanztheater Wuppertal Pina Bausch (2014).
音樂總監 楊欣諾
Music Director Felix Yeung
駐團指揮 劉卓熙
Resident Conductor Sanders Lau
排練伴奏 黃歷琛
Rehearsal Pianist
女高音 Soprano
男高音 Tenor
河北塔
陳傑龍
張慧文 張淘美 蔣頌賢 朱芷慧 鍾穎琛 劉慧榕 劉愛明 莫書琴 黃祖瀅 黃琰葶 葉嘉儀 余韋嬨
Petra Bach Lilian Cheung Pamela Cheung Esther Chiang Eleanor Chu Chung Wing-sum Lau Wai-yung Amanda Liu Oi-ming Shanna Mok Janelle Wong Cho-ying Sarah Wong Yim-ting Carlie Yip Waisy Yu
張子鋒 韓年偉 賴以正 林浚逸 劉卓熙 梁祐彰 盧達智 余天佑
陳詩頌 陳祉穎 何毅詩 郭曉楠 劉嘉欣 廖靜茵 沈培娜 蕭嘉莉 穎瑤 謝慧心 楊千影
Joyce Chan Sze-chung Cyrus Chan Tsz-wing Elsie Ho Jodie Kwok Doris Lau Liu Ching-yan Margaret Sang Grace Siu Harmony Timbre Vivian Tse Young Chin-ying
Guddy Chan Kit-lung Cheung Tsz-fung Raymond Han Eugene Lai Kenny Lam Sanders Lau Tommy Leung Arthur Lo Tat-chi Tony Yu
男低音 Bass 區永鴻
女低音 Alto
Alexander Wong
陳子榮 張嘉笙 張恩浩 何遂珩 劉奕朗 黎永堃 黎敬樂 劉天智 李嘉興 梁晉豪 李梓諾 李子夏 謝燿廷 王俊謙
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Simon Au Chan Tsz-wing Artus Cheung Ka-sang Titus Cheung Yan-ho Simeon Ho Lau Yik-long Brian Lai Joshua Lai Solomon Lau Lee Ka-hing John Leung Carlos Li Thomas Li Tsz-ha Tse Yiu-ting Samuel Wong
鳴謝 Acknowledgements 香港藝術節衷心感謝下列機構及人士的慷慨支持： The Hong Kong Arts Festival would like to thank the following for their generous support:
贊助舍計劃會員 Patron’s Club Members 鉑金會員 Platinum Members
嘉里控股有限公司 Kerry Holdings Limited 新鴻基有限公司 Sun Hung Kai & Co. Limited
黃金會員 Gold Member
怡和集團 The Jardine Matheson Group
純銀會員 Silver Members
銅鑼閣有限公司 Causeway Corner Limited 太古集團慈善信託基金 The Swire Group Charitable Trust
青銅會員 Bronze Members
鷹君集團有限公司 Great Eagle Holdings Limited 上海商業銀行 Shanghai Commercial Bank Limited
其他支持機構 Other Supporters •Agency for Cultural Affairs, Government of Japan •ANA Holdings Inc. •British Columbia Arts Council
•British Council •Canada Council for the Arts •HEED
實物支持機構 In-kind Supporters •帝盛酒店集團 Dorsett Hospitality International •嘉頓有限公司 The Garden Company Limited •鷹君集團有限公司 Great Eagle Holdings Limited •In Technical Productions Limited •香港德迅貨運代理有限公司 Kuehne & Nagel Limited
•香港國際機場 Hong Kong International Airport •奧海城 Olympian City •信和集團 Sino Group •崇光 ( 香港 ) 百貨 SOGO Hong Kong •屯門市廣場 TMT Plaza
藝術節捐助計劃 Festival Donation Scheme 鉑金捐款者 PlATINuM DONORS HK$140,000 或以上 AND ABOVE •Mrs Miriam Hwa •Lincoln & Yu-San Leong •Nine Queens Investment Limited •Yip Foundation Ltd 鑽石捐款者 DIAMOND DONORS HK$70,000 - HK$139,999 •林護紀念基金有限公司 Lam Woo Foundation Limited •Martin Rogers & Janet Cheng •Mr & Mrs Stephen Suen 翡翠捐款者 JADE DONORS HK$30,000 - HK$69,999 •無名氏 Anonymous •Jeffrey & Helen Chan •Mrs K L Chan •陳求德醫生 Dr Chan Kow Tak •Mrs Mona Leong •Ms Leung Wai Yee Candice •林聖竤 Chris Lin •Ms Sun Tien Chen •Mr & Mrs David S Y Wong 黃金捐款者 GOlD DONORS HK$12,000 - HK$29,999 •無名氏 (3) Anonymous (3) •Mr & Mrs S Cheng •Mr Edwin Choy •Consigliere Limited •Alex & Hanne Fung •Mr & Mrs Kenneth H C Fung •Richard & Ruth Herbst •Ms Jenny Hodgson •Mr & Mrs Ko Ying & Ko Woo Shin Ching Patricia •Mrs A M Peyer
•Mr Stephen Tan •曹延洲醫生 Dr Tsao Yen Chow •Linda Wang •Samuel & Amy Wang •黃逸思先生夫人 Mr & Mrs Y S Wong •Mr Wong Yick Kam 純銀捐款者 SIlVER DONORS HK$6,000 - HK$11,999 •無名氏 (3) Anonymous (3) •Dr York YN Chow •Ms Ka Shi Lau •Ms Lee Lai-Kuen Shelley •Mr & Mrs David S L Lin •Dr Michael Mak •Mr & Mrs Gilles Martin •Dr Poon Yee Ling Eligina •Ms Jacqueline Swain •Tsang Wing Fun •Ms Tse Chiu Ming •Ms Enoch Yiu •Ms Isabel Yiu 青銅捐款者 BRONZE DONORS HK$3,000 - HK$5,999 •無名氏 (4) Anonymous (4) •AIA AGAPE A&F •Atkinson Lambert Limited •Ms Alice Au •Mrs Anson Chan •Mr Edmund Cheung •Dr David Fang •HUI Silvia •Ms Khoo Li Lian •Legrand Jewellery
•Ms Lim Geck Chin Mavis •Gary & Flavia Ma •So Ching
•Leland & Helen Sun •Ms Christine Tong •Mr Christopher Wong & Dr Ivo Chen •殷和順劉善萍伉儷
學生票捐助計劃 Student Ticket Scheme 鉑金捐款者 PlATINuM DONORS HK$140,000 或以上 AND ABOVE •駱余劍清紀念基金 Lok Yu Kim Ching Memorial Fund •C H Mak •無名氏 (2) Anonymous (2) •麥禮和醫生 Dr Mak Lai Wo •Burger Collection •Vernon & Karen Moore •馬振玉慈善基金會有限公司 CYMA Charity Fund Ltd •Mrs A M Peyer •恒生銀行 Hang Seng Bank •Dr Poon Yee Ling Eligina 鑽石捐款者 DIAMOND DONORS HK$70,000 - HK$139,999 •Mr & Mrs Kenneth Quinn •法國巴黎銀行 BNP Paribas •Tsang Wing Fun •Mrs Purviz R Shroff and the late Mr Rusy M Shroff, BBS, MBE •曹延洲醫生 Dr Tsao Yen Chow •田家炳基金會 Tin Ka Ping Foundation •Martin Rogers & Janet Cheng •芝蘭基金會 Zhilan Foundation •黃乃正教授及陳頴儀醫生 •Mr Wong Yick Kam 翡翠捐款者 JADE DONORS HK$30,000 - HK$69,999 青銅捐款者 BRONZE DONORS HK$3,000 - HK$5,999 •林聖竤 Chris Lin •Roger & Lina Lui •Mr & Mrs Stephen Suen 黃金捐款者 GOlD DONORS HK$12,000 - HK$29,999 •無名氏 Anonymous •Mr & Mrs Herbert Au-Yeung •Ms Margaret Cheng •招國利先生 Mr Chiu Kwok Lee •Dr Chung See Yuen •馮兆林先生 Mr Fung Shiu Lam •Richard & Ruth Herbst •Mr & Mrs Ko Ying & Ko Woo Shin Ching Patricia •Yvonne Cheng & Kelvin Koo •Caroline & Stefan Kracht •Mrs Carol Murray •Nathaniel Foundation Limited •Diana d'Arenberg & Jay Parmanand •孫永輝施熙德伉儷 Edith Shih & Stephen Sun •Mr Stephen Tan •Peter & Nancy Thompson •Mr William To •黃逸思先生夫人 Mr & Mrs Y S Wong •Ms Wong Yuen Mee Elsa •Mrs Wu Tseng Helen 純銀捐款者 SIlVER DONORS HK$6,000 - HK$11,999 •無名氏 (2) Anonymous (2) •區燊耀先生 Mr Au Son Yiu •Mr Iain Bruce •趙穎雅 Winnie W N Chiu •天智合規顧問有限公司 CompliancePlus Consulting Limited •Mr & Mrs A R Hamilton •Ms Winnie W Ho •羅偉騫先生及夫人 Andy Law & Wendy Chan
•無名氏 (12) Anonymous (12) •Antonhill Company Limited •Biz Office Limited •Carthy Limited •Cynthia Cheng & Aaron Chan •Dr Chan Chun Yin •Dr Cindy Chan •Dr Chan Wan Tung •D Chang •Ms Cheung Kit Fung •張宏毅律師及江淑慧夫人 Mr & Mrs Joseph W N Cheung •Ms Grace Chiang •Mr & Mrs Norman Chui •Community Partner Foundation Limited •Mr & Mrs Kenneth H C Fung •giliproduction •HUI Silvia •Betty Hung •Dr Alfred Lau •Joanna Lau •Dr Nancy Leung •Savita Leung •Ms Janice Ritchie •Susan Lim & Neil Roberts •Mr Siddique Salleh •Mr So Kin Man •William Stork & Jasmine Wong •Dr Tam Oi Wo Joyce •Ms Wong Siu Yee Amy •殷和順劉善萍伉儷 •Ms Yim Chui Chu •Mr Desmond Yu •野豬先生 •皮皮
新作捐助計劃 New Works Scheme 翡翠捐款者 JADE DONORS HK$30,000 - HK$69,999 •Ms Sun Tien Chen 黃金捐款者 GOlD DONORS HK$12,000 - HK$29,999 •無名氏 Anonymous •劉仰澤先生 Mr Lau Yeung Chak •林聖竤 Chris Lin •孫永輝施熙德伉儷 Edith Shih & Stephen Sun 純銀捐款者 SIlVER DONORS HK$6,000 - HK$11,999 •Ms Winnie W Ho
•Mr & Mrs Ko Ying & Ko Woo Shin Ching Patricia •駱余劍清紀念基金 Lok Yu Kim Ching Memorial Fund 青銅捐款者 BRONZE DONORS HK$3,000 - HK$5,999 •無名氏 (3) Anonymous (3) •Star B Chan & MDB •Dr Xina Lo •Mrs A M Peyer •黃逸思先生夫人 Mr & Mrs Y S Wong
支持及協助 Support and Co-operation •Acorn Design •Alfie Leung Design •AMC Pacific Place •艺鵠 Arts and Culture Outreach •香港展能藝術會 Arts with the Disabled Association Hong Kong •教育局藝術教育組 Arts Education Section, Education Bureau •香港愉景灣酒店 Auberge Discovery Bay Hong Kong •樺利廣告有限公司 Avanny Advertising Co Ltd •庇理羅士女子中學 Belilios Public School •BRICK LANE •英國文化協會 British Council •Broadway Cinema •百老匯院線 Broadway Circuit •牛棚藝術村 Cattle Depot Artist Village •CCDC 舞蹈中心 CCDC Dance Centre •中國對外文化集團公司 China Arts and Entertainment Group (CAEG) •中華基督教會公理堂 China Congregational Church •周生生集團國際有限公司 Chow Sang Sang Jewellery Co. Ltd •中信國際電訊 ( 信息技術 ) 有限公司 CITIC Telecom International CPC Limited •城市當代舞蹈團 City Contemporary Dance Company •城巿花園酒店 City Garden Hotel •思聯設計有限公司 CL3 Architects Ltd •阿根廷駐港總領事館 Consulate General of Argentina in Hong Kong •比利時駐港澳總領事館 Consulate General of Belgium in Hong Kong and Macau •巴西駐港總領事館 Consulate General of Brazil in Hong Kong •加拿大駐香港總領事館 Consulate General of Canada in Hong Kong and Macao •法國駐港澳總領事館 Consulate General of France in Hong Kong and Macau •希臘駐港總領事館 Consulate General of Greece in Hong Kong •愛爾蘭駐港澳總領事館 Consulate General of Ireland in Hong Kong and Macau •意大利駐港總領事館 Consulate General of Italy in Hong Kong •日本國駐香港總領事館 Consulate General of Japan in Hong Kong •馬來西亞駐港澳總領事館 Consulate General of Malaysia in Hong Kong and Macau SAR •印尼駐港總領事館 Consulate General of the Republic of Indonesia in Hong Kong •大韓民國駐香港總領事館 Consulate General of the Republic of Korea in Hong Kong •俄羅斯駐香港總領事館 Consulate General of the Russian Federation in Hong Kong SAR, PRC •西班牙駐港澳總領事館 Consulate General of Spain in Hong Kong and Macao •瑞士駐香港總領事館 Consulate General of Switzerland in Hong Kong •英國駐港總領事館 Consulate General of United Kingdom in Hong Kong •澳門特別行政區政府文化局 Cultural Affairs Bureau of the Macao S.A.R. Government •Die Konzertisten •拔萃男書院 Diocesan Boys' School •拔萃女小學 Diocesan Girls' Junior School •拔萃女書院 Diocesan Girls' School •香港荃灣帝盛酒店 Dorsett Tsuen Wan •Edge 'n Pointe Dance Centre •港威酒店 Gateway Hotel •德國駐香港總領事館 German Consulate General Hong Kong •六國酒店 Gloucester Luk Kwok Hong Kong •香港歌德學院 Goethe-Institut Hong Kong •香港君悅酒店 Grand Hyatt Hong Kong •8 度海逸酒店 Harbour Plaza 8 Degrees •嘉湖海逸酒店 Harbour Plaza Resort City •快達票香港有限公司 HK Ticketing •香港聖公會聖保羅堂 HKSKH St. Paul's Church
•香港藝術行政人員協會 Hong Kong Arts Administrators Association •香港藝術中心 Hong Kong Arts Centre •香港藝術發展局 Hong Kong Arts Development Council •香港浸會大學 Hong Kong Baptist University 電影學院 Academy of Film 音樂系 Department of Music 拉闊文化 Cultural Literacy Programme 政治及國際關係學系 Department of Government and International Studies •美國管風琴家協會香港分會 Hong Kong Chapter of the American Guild of Organists •香港大會堂 Hong Kong City Hall •香港文化中心 Hong Kong Cultural Centre •香港經濟貿易辦事處 Hong Kong Economic and Trade Office •香港黃金海岸酒店 Hong Kong Gold Coast Hotel •香港文化博物館 Hong Kong Heritage Museum •香港管弦樂團 Hong Kong Philharmonic Orchestra •香港公共圖書館 Hong Kong Public Libraries •香港唱片 Hong Kong Records •香港樹仁大學 Hong Kong Shue Yan University 圖書館 Library •香港旅遊發展局 Hong Kong Tourism Board •香港童聲合唱團 Hong Kong Treble Choir •宜必思香港中上環 ibis Hong Kong Central and Sheung Wan •工銀亞洲 ICBC (Asia) •富薈馬頭圍酒店 iclub Ma Tau Wai Hotel •海景嘉福洲際酒店 InterContinental Grand Stanford Hong Kong •香港洲際酒店 InterContinental Hong Kong •益普索香港 Ipsos Hong Kong •港島太平洋酒店 Island Pacific Hotel Hong Kong •賽馬會創意藝術中心 Jockey Club Creative Arts Centre •賽馬會官立中學 Jockey Club Government Secondary School •高山劇場 Ko Shan Theatre •九龍木球會 Kowloon Cricket Club •Kubrick •葵青劇院 Kwai Tsing Theatre •光華新聞文化中心 Kwang Hwa Information & Culture Center •中央人民政府駐香港特別行政區聯絡辦公室 Liaison office of the Central People's Government in the HKSAR •嶺南大學 Lingnan University 文學院 Faculty of Arts 黃炳禮音樂及演藝部 Wong Bing Lai Music and Performing Arts Unit 學生服務中心 Student Service Centre •香港逸蘭精品酒店 Lanson Place Hotel, Hong Kong •La Rotisserie •馬哥孛羅香港酒店 Marco Polo Hongkong Hotel •Maxibit HK/China •中華人民共和國文化和旅遊部 Ministry of Culture and Tourism, PRC •Mission Production Company Ltd •音樂事務處 Music Office •One Minden Tapas Kitchen •PALACE ifc •柏斯琴行 Parsons Music Limited •卓滙達有限公司 Patsville Company Ltd •Pause Rewind n FastForward •電訊盈科 PCCW •犇華企業服務有限公司 Primasia Corporate Services Limited •香港太子酒店 Prince Hotel, Hong Kong •香港帝景酒店 Royal View Hotel •沙田大會堂 Sha Tin Town Hall •聖公會鄧肇堅中學 Sheng Kung Hui Tang Shiu Kin Secondary School •信興電器貿易有限公司 Shun Hing Electronic Trading Co., Ltd. •先鋒廣告製作有限公司 Sin Fung Advertising Production Co., Ltd. •Southgate Design •香港西班牙商會 Spanish Chamber of Commerce in Hong Kong
•事必達推廣有限公司 Speedy Promotion Limited •聖雅各福群會 St. James' Settlement •辰衝圖書有限公司 Swindon Book Co. Ltd. •大館 Tai Kwun •台灣蘇富比國際房地產 Taiwan Sotheby's International Realty •藝林文具印刷有限公司 The Artland Co Ltd •香港八和會館 The Chinese Artists Association of Hong Kong •香港中文大學 The Chinese University of Hong Kong 戲曲資料中心 Chinese Opera Information Centre 音樂系 Department of Music 文學院 Faculty of Arts 和聲書院 Lee Woo Sing College 聯合書院 United College •香港城市大學 The City University of Hong Kong 中文系 Department of Chinese and History 英文系 Department of English 城大創意媒體學院 School of Creative Media •城景國際 The Cityview •香港教育大學 The Education University of Hong Kong 文化與創意藝術學系 Department of Cultural and Creative Arts 圖書館 Library •梅夫人婦女會 The Helena May •香港演藝學院 The Hong Kong Academy for Performing Arts 中國戲曲學院 School of Chinese Opera 戲劇學院 School of Drama 音樂學院 School of Music •香港兒童合唱團 The Hong Kong Children’s Choir •香港理工大學 The Hong Kong Polytechnic University 圖書館 Library •香港科技大學 The Hong Kong University of Science and Technology 藝術中心 Center for the Arts 人文學部 Division of Humanities 學生住宿及舍堂生活事務處 Student Housing and Residential Life Office HKUST Music Alive! •中環石板街酒店 The Pottinger Hong Kong •皇家太平洋酒店 The Royal Pacific Hotel and Towers •香港大學 The University of Hong Kong Cultural Management Office 音樂系 Department of Music 通識教育部 General Education Unit 國際事務處 International Affairs Office 圖書館 Library 現代語言及文化學院 School of Modern Languages and Cultures 香港大學博物館學會 The University of Hong Kong Museum Society 香港大學美術博物館 University Museum and Art Gallery •香港華美粵海酒店 The Wharney Guang Dong Hotel Hong Kong •通利琴行 Tom Lee Music Company Ltd •三角關係 Trinity Theatre •屯門大會堂 Tuen Mun Town Hall •UA CINEHUB •城市售票網 URBTIX •美國駐港澳總領事館 U.S. Consulate General in Hong Kong & Macau •進富印刷公司 Wealthy Step Printing Co. •wine etc •油麻地戲院 Yau Ma Tei Theatre •葉氏兒童合唱團 Yip's Children's Choir •香港基督教青年會（港青） YMCA of Hong Kong •青年學院 Youth College •青年廣場 Youth Square •元朗劇院 Yuen Long Theatre •赤豚事務所 Zhu Graphizs
節目時間表 Programme Calendar 歌劇 戲 音樂 /曲 OPERA / CHINESE OPERA MUSIC
萊比錫歌劇院 華格納《唐懷瑟》
CCGT
1/3 2/3
7pm 6pm
Madame White Snake by Zhou Long and Cerise Lim Jacobs
APAL
8-9/3
7:30pm
粵劇《百花亭贈劍》 毛俊輝導演作品（更新版）
Cantonese Opera - Pavilion of a Hundred Flowers Directed by Fredric Mao (Reboot)
STTHAUD
1-2/3
8pm
粵劇越洋半世紀 -《紅了櫻桃碎了心》 - 白玉堂折子戲 -《胡不歸》 - 名伶花旦展演話當年
Cantonese Opera - Global Traces, Local Stages YMTT - Red Cherries and a Broken Heart - Vignettes of Pak Yuk-tong’s “Three Big Trials” - Why Don’t You Return? - A Long Passion – Talk, Demonstration and Performance
9/3 10/3 11/3 15-17/3
7:30pm 2:30pm 7:30pm 7:30pm
香港小交響樂團 小號巨星納卡里亞科夫
Hong Kong Sinfonietta Sergei Nakariakov • The Art of the Trumpet
CHCH
16/2
8pm
瑪琳．艾爾梭與聖保羅交響樂團
Marin Alsop with the São Paulo Symphony Orchestra
CCCH
21-22/2
8pm
Hong Kong Chinese Orchestra Meeting Across Nine Millennia of Time
CHCH
22/2
8pm
鮮于睿權鋼琴獨奏會
Yekwon Sunwoo Piano Recital
CHCH
23/2
8pm
帕佛．約菲與 NHK 交響樂團
Paavo Järvi with the NHK Symphony Orchestra, Tokyo
CCCH
28/2
8pm
法國世紀樂團：白遼士 150 指揮：麥森．帕斯高
Les Siècles: BERLIOZ 150 Conductor: Maxime Pascal
CCCH
2/3 3/3
8pm 4:30pm
萊比錫歌劇院合唱團 《歌劇合唱盛會》
Chor der Oper Leipzig Opera Chorus Concert
CCCH
3/3
8:15pm
馬祖耶夫鋼琴獨奏會
Denis Matsuev Piano Recital
CHCH
7/3
8pm
馬祖耶夫與得獎新晉鋼琴家匯演
Matsuev and Young Laureates Piano Gala
CHCH
8/3
8pm
Quondam Spanish Renaissance Choral Masterpieces
CHCH
9/3 10/3
8pm 4pm
Li Biao Percussion Group - From Baroque to Tango
CCCH
15/3
8pm
P is for PERCUSSION! Family Concert by Li Biao Percussion Group
CCCH
16/3
8pm
洪儷僖管風琴獨奏會
Riyehee Hong Organ Recital
CCCH
18/3
8pm
克雷莫納弦樂四重奏
Quartetto di Cremona
CHCH
21-22/3
8pm
爵士新潮 - 馬可．梅斯基達三重奏《拉威爾的夢》
Nouveau Jazz Weekend - Marco Mezquida Trio - Ravel's Dreams
APAD 22/2 23/2 23/2 23/2
8pm 7:30pm 4pm 9:30pm
2-3/3 2/3 3/3
4:30pm 8pm 8pm
《白蛇傳》 作曲：周龍 | 編劇：林曉英
香港中樂團 《九千年的邂逅》
時光之音 《西班牙文藝復興合唱代表作》 李飈打擊樂團《巴羅克．探戈》 《好！擊！動！》親子音樂會 李飈打擊樂團
爵士樂 世 / 界音樂 JAzz / WOrLD MUSIC
- 馬可．梅斯基達鋼琴獨奏會 - 佐治．達洛查低音大提琴獨奏獨唱會
Oper Leipzig Wagner’s Tannhäuser
- Marco Mezquida Piano Solo - Jorge da Rocha Solo
世界音樂週末營 - Criatures 二人組及 Belda & Sanjosex - 易莎．拉娜三重奏《路》 - 佐治．達洛查三重奏《放下．放開》
World Music Weekend - Criatures and Belda & Sanjosex - Yexza Lara - Camino - Jorge da Rocha - To Drop and Let Go
HKAC-ST
馬祖耶夫爵士樂隊
DANCE
舞蹈
Matsuev and Friends Play Jazz
CCCH
9/3
8pm
湯瑪士．夸斯托夫四重奏 《Nice 'N' Easy》
Thomas Quasthoff Quartet Nice 'N' Easy
CCCH
14/3
8pm
希薇雅．佩瑞茲．克露絲 《夜妝》
Sílvia Pérez Cruz Dressed by the Night (Vestida de Nit)
CCCH
22/3
8pm
香港藝術節 @ 大館
HKartsFestival@TaiKwun
TK
2-3/3 9-10/3
雲門舞集 45 週年 林懷民舞作精選
Cloud Gate Dance Theatre of Taiwan The 45th Anniversary Gala Programme Retrospectives of Lin Hwai-min's Works
CCGT
21-23/2 24/2
8:15pm 2pm
Euripides Laskaridis / Osmosis TITANS
APAD
26-27/2
8:15pm
歐里庇德斯．拉斯卡里迪斯及遊離表演工作坊 《泰坦 – 諸神之舞》
CCGT CCCH CCST CHCH
香港文化中心大劇院 Grand Theatre, HK Cultural Centre 香港文化中心音樂廳 Concert Hall, HK Cultural Centre 香港文化中心劇場 Studio Theatre, HK Cultural Centre 香港大會堂音樂廳 Concert Hall, HK City Hall
CHT APAL APADT HKAC-ST
香港大會堂劇院 Theatre, HK City Hall 香港演藝學院歌劇院 Lyric Theatre, HKAPA 香港演藝學院戲劇院 Drama Theatre, HKAPA 香港藝術中心壽臣劇院 Shouson Theatre, Hong Kong Arts Centre
DANCE
舞蹈
香港賽馬會當代舞蹈平台 -《舞鬥》 -《雙篇雙人舞》 -「兩地書」-《沒有大象》 亞太舞蹈平台 -《由削木開始》 -《黃翊與庫卡》
The Hong Kong Jockey Club Contemporary Dance Series - Dance Off
CCST
- Double Bubble
CCST
- Dance Exchange - Elephant in the Room Asia Pacific Dance Platform - From starting to cut the wood - HUANG YI & KUKA
CCST
28/2, 1/3 2/3 15/3 16/3 20-21/3
8:15pm 3pm 8:15pm 2:45pm 8:15pm
KTT-BBT APA-DT
12-13/3 1-2/3
8pm 8:15pm
THEATrE
戲劇
漢堡芭蕾舞團 – 約翰．紐邁亞 《胡桃夾子》
The Hamburg Ballet - John Neumeier The Nutcracker
CCGT
13-15/3
7:30pm
漢堡芭蕾舞團 – 約翰．紐邁亞 《貝多芬計劃》
The Hamburg Ballet - John Neumeier Beethoven Project
CCGT
19-20/3
7:30pm
漢堡芭蕾舞團 – 約翰．紐邁亞 《約翰．紐邁亞的世界》
The Hamburg Ballet - John Neumeier The World of John Neumeier
CCGT
23/3 24/3
7:30pm 2:30pm
重新劇團 《追憶消逝的人生》
Theatre Re The Nature of Forgetting
CCST
21-24/2 23-24/2
8:30pm 4:30pm
瑞士默劇團 《百變樂園》
Mummenschanz Reloaded
APAL YLT-AUD
21-22/2 24/2 24/2
7:30pm 1pm 5pm
倫敦燃料劇團、布里斯托爾老域劇團、 愛丁堡皇家蘭心劇院與北安普敦皇家及 德蓋特劇院聯合製作 《攀越冰峰》
A Fuel, Bristol Old Vic, Royal Lyceum Theatre Edinburgh, and Royal & Derngate Northampton co-production Touching the Void
CHT
21-24, 8pm 26-28/2, 1-2/3 23-24/2, 2/3 3pm
機器神製作 羅伯特．利柏殊創作及演出 《887》
Ex Machina Created and performed by Robert Lepage 887
APAL
27-28/2, 1-2/3 8pm 2/3 3pm
賽馬會本地菁英創作系列 《陪着你走》
Jockey Club Local Creative Talents Series Always by Your Side
KTT-AUD
2,6-9/3 3,9-10/3
8pm 3pm
正點劇團 《哈姆尼特─莎士比亞之子》
Dead Centre Hamnet
CCST
4-5/3
8:15pm
正點劇團 《契訶夫處女作》
Dead Centre Chekhov's First Play
CCST
8-9/3 9-10/3
8:15pm 3pm
北京李六乙戲劇工作室 《哈姆雷特》
Beijing LiLiuyi Theatre Studio The Tragedy of Hamlet, Prince of Denmark
CCGT
7-8/3 9/3
7:30pm 2:30pm
《九江》
Gangsters of Hong Kong
CHTH
8-9,13-16, 20-23/3 10, 17, 24/3
8pm
Ontroerend Goed 《金錢世界》( 英語版 )
Ontroerend Goed - £¥€$ (LIES) (English Version)
TK-F Hall
《金錢世界》( 粵語版 )
- £¥€$ (LIES) (Cantonese Version)
12-17/3 12-15/3 16-17/3 20-24/3 20-22/3 23-24/3
6pm 9pm 3pm 6pm 9pm 3pm
離奇作業劇團 《蛙人》
curious directive Frogman
CDAV
12-15/3 12-15/3 16-17/3 16-17/3
7pm 9pm 3pm 5pm
傑夫．索貝爾 《家》
Geoff Sobelle Home
APAL
14-16/3 16/3
8pm 3pm
皮普．德爾邦諾劇團 《快樂大本營》
Compagnia Pippo Delbono La Gioia (Joy)
APAL
22-23/3
8pm
馬里安諾．潘恩索廸及瑪利亞劇團 《三個女人搞革命》
Mariano Pensotti / Grupo Marea Burning Bright in the Forest of the Night
CCST
23/3 24/3
8:15pm 5pm
3pm
資料截至 Information as of: Jan 2019
KTT-BBT KTT-AUD YLT-AUD STTH-AUD
葵青劇院黑盒劇場 Black Box Theatre, Kwai Tsing Theatre 葵青劇院演藝廳 Auditorium, Kwai Tsing Theatre 元朗劇院演藝廳 Auditorium, Yuen Long Theatre 沙田大會堂演奏廳 Auditorium, Sha Tin Town Hall
YMTT TK CDAV
油麻地戲院 Yau Ma Tei Theatre 大館 Tai Kwun 牛棚藝術村 Cattle Depot Artist Village
藝術絕不止於劇場或舞台，而是能延伸至生活的每個小節。無論您是藝術節的忠實擁躉、藝術 愛好者或年輕藝術家，PLUS誠邀您透過一系列老少咸宜的節目與特備活動，一起探索與體驗 香港藝術節「演出之外，更多精采！」 PLUS extends your festival experience to more than what you see on stage. Experienced festivalgoers, newcomers, budding artists, and the young and old alike will be delighted that there are "More than Great Performances" at the Hong Kong Arts Festival!
音樂大師班
M u s i c M a s t e rcla s s 李飈打擊樂團敲擊樂大師班 Li Biao Percussion Group Masterclasses 13/3 三 Wed 5:30 - 7:30pm (中西敲擊樂器 Chinese & Western Percussion Instrument) 香港演藝學院演奏廳 Recital Hall, HKAPA 14/3 四 Thu 7:30 - 9:30pm (敲擊樂隊 Percussion Ensemble) 香港文化中心 CR2 排演室 Rehearsal Room CR2, HK Cultural Centre
���������樂大師班 Thomas Quasthoff Vocal Masterclass 13/3 三 Wed 7:00 - 9:00pm 香港文化中心 CR1 排演室 Rehearsal Room CR1, HK Cultural Centre
洪儷僖管風琴大師班 Riyehee Hong Organ Masterclasses 16/3 六 Sat 11:00am - 1:00pm (宗教禮儀音樂 Liturgical music) 香港聖公會聖保羅堂 HKSKH St. Paul's Church
h #FSOE #SVOEFSU
17/3 日 Sun 4:00 - 5:30pm (西班牙及法國 17 世紀及早期浪漫主義作品 Spanish and French 17th century to early romantic organ repertoire) 香港演藝學院音樂廳 Concert Hall, HKAPA
時光之音合唱與合唱指揮工作坊 Conducting and Singing Workshop with Quondam 9/3 六 Sat 2:30 - 5:00pm (合唱指揮 Choral Conducting) 11/3 一 Mon 4:00 - 6:30pm (合唱 Choral Singing) 循道衛理聯合教會國際禮拜堂 Methodist International Church
報名及更多加料節目詳情請瀏覽 To learn more about PLUS events, please visit: www.hkartsfestivalplus.org
藝術節加料節目 節目詳情及網上報名 For more details and online registration: www.hk.artsfestivalplus.org 音樂 MUSic
特備節目 SpecialS 25/1/2019
26/1/2019
樂與畫音樂會：《哥雅之畫》- 葛拉納多斯的音樂意境 Music and Art Concert: Goya’s World through Granados’s Goyescas 《風琴遊蹤》導賞遊與風琴獨奏會 Pipe Organ Walk & Organ Recital
20/2/2019
聖保羅交響樂團四重奏 SPSO String Quartet
22/2/2019
香港藝術節傑出文化領袖講座系列 講者︰葉 芠芠（雲門文化藝術基金會執行總監） HKAF Distinguished Cultural Leader Series (VI) Speaker: Yeh Wen-wen (Executive Director of Cloud Gate Cultural and Arts Foundation)
20/2/2019
公開彩排︰瑪琳．艾爾梭、聖保羅交響樂團 與本地學生樂團 Open Rehearsal: Marin Alsop, São Paulo Symphony Orchestra and Local Student Orchestras
22/2/2019
聖保羅交響樂團演前導賞講座 : 瑪琳．艾爾梭 細說伯恩斯坦與她的指揮生涯 Sao Paulo Symphony Orchestra Pre-performance Talk: Marin Alsop on Bernstein and Her Conducting Career
22/2/2019
馬可．梅斯基達爵士樂工作坊 Marco Mezquida Jazz Improvisation Workshop
28/2/2019
NHK 交響樂團演前導賞講座︰細聽二十世紀改革之風 NHK Symphony Orchestra Pre-performance Talk: Listen to the Winds of Changes PLUS 兒童合唱團大堂音樂會 Festival PLUS Children's Choir Foyer Performance
22/2/2019 24/2/2019
《舞城遊蹤》 Choreography Walk
26/2/2019 3/3/2019
《家常便飯》 Family Dinner
2/3/2019
2/3/2019
《歌劇探秘同樂日》Opera Adventure Day
2/3/2019
28/2 - 3/3/ 2019
「萊比錫樂韻之路」展覽 Leipzig Music Trail (Leipziger Notenspur) Exhibition
《萊比錫樂韻之路》室樂音樂會 Leipzig Music Trail Chamber Concert
2/3/2019
《一齊玩》戲劇工作坊 We PLAY Theatre Workshop
16/3/2019
《好！擊！動！》同樂日 P is for Percussion! Family Day
2/3/2019
法國世紀樂團演前導賞講座︰幻想交響曲 Les Siècles Pre-performance Talk: Symphonie Fantastique
3/3/2019
萊比錫布業大廳樂團雙簧管、圓號、長號大師班 Oboe, Horn & Trombone Masterclass by Gewandhausorchester Leipzig
3/3/2019
法國世紀樂團演前導賞講座︰白遼士的一生 Les Siècles Pre-performance Talk: The Life of Berlioz
3/3/2019
萊比錫歌劇院演前導賞講座︰《歌劇合唱盛會》 Oper Leipzig Pre-performance Talk: Opera Chorus Concert
21/3/2019
藝術家沙龍︰約翰．紐邁亞 Artist Salon: John Neumeier
舞蹈 DaNce 19, 23/2/2019
雲門舞集工作坊 Cloud Gate Dance Theatre of Taiwan Workshop
1/3/2019
公開彩排︰香港賽馬會當代舞蹈平台《雙篇雙人舞》 Open Rehearsal: The Hong Kong Jockey Club Contemporary Dance Series Double Bubble
11/3/2019
藝術家對談︰從工藝到舞蹈 Arts Chat: From Crafting to Dancing
13/3/2019
漢堡芭蕾舞團演前導賞講座 : 交流網絡的藝術 The Hamburg Ballet Pre-Performance Talk: The Art of Networking
15/3/2019
漢堡芭蕾舞團早課參觀 Observing Company Class
15/3/2019
《胡桃夾子》後台參觀 Backstage at The Nutcracker
4/3/2019
《白蛇傳》歌劇創作講座 Madame White Snake Reimagined
9, 11/3/2019
時光之音合唱指揮工作坊 Choral Conducting and Choral Singing Workshop with Rupert Damerell
9/3/2019
馬祖耶夫爵士樂隊演前導賞講座︰ 古典音樂與爵士音樂的交匯 Matsuev and Friends Play Jazz Pre-performance Talk: Harmony between Classical and Jazz
16, 24/3/2019
漢堡芭蕾舞團大師班 Hamburg Ballet Masterclass
17/3/2019
漢堡芭蕾舞團《胡桃夾子》兒童工作坊 Hamburg Ballet The Nutcracker Ballet Introductory Class for Kids
13/3/2019
湯瑪士．夸斯托夫聲樂大師班 Thomas Quasthoff Vocal Masterclass
19/3/2019
漢堡芭蕾舞團《貝多芬計劃》演前導賞講座 The Hamburg Ballet Pre-Performance Talk: Beethoven Project
14/3/2019
23/3/2019
漢堡芭蕾舞團《約翰．紐邁亞的世界》演前導賞講座 The Hamburg Ballet Pre-Performance Talk: The World of John Neumeier
湯瑪士．夸斯托夫四重奏演前導賞講座 : 古典音樂與爵士音樂的交匯（二） Thomas Quasthoff Quartet Pre-Performance Talk: Harmony between Classical and Jazz II
13, 14/3/2019
李飈打擊樂團敲擊樂大師班 Percussion Ensemble Masterclass by Li Biao Percussion Group
15/3/2019
李飈打擊樂團演前導賞講座︰《巴羅克．探戈》 Li Biao Percussion Group Pre-Performance Talk : From Baroque to Tango
16, 17/3/2019
洪儷僖管風琴大師班 Riyeehee Hong Organ Masterclass
歌劇／戲曲 OpeRa 1, 2/3/2019
萊比錫歌劇院演前導賞講座︰《唐懷瑟》 Oper Leipzig Pre-performance Talk: Tannhäuser
2/3/2019
萊比錫歌劇院《唐懷瑟》後台參觀 Oper Leipzig's Tannhäuser Backstage Tour
12/3/2019
蔡艷香粵劇南派工作坊 Southern School of Cantonese Opera Workshop with Choy Him-heong
戲劇 THeaTRe
16/3/2019
《好！擊！動！》互動敲擊展覽 P is for Percussion Interactive Percussion Exhibition
16/3/2019
拇指琴 及「升」樂樽工作坊 Thumbiano and Musical Bottle Workshop 《律！動！啦！》大堂音樂會 Feel the Pulse NOW!!! Foyer Performance
28/2/2019
藝術家對談︰與劇場大師羅伯特．利柏殊對話 Arts Chat: In Conversation with Robert Lepage
16/3/2019
9/3/2019
藝術家對談︰導演李六乙的莎士比亞 Arts Chat: Director Li Liuyi's Interpretation of Shakespeare
20/3/2019
克雷莫納弦樂四重奏示範講座 Quartetto di Cremona Lecture Demonstration
22/3/2019
希薇雅．佩瑞茲．克露絲 演前導賞講座︰皆有可能 Sílvia Pérez Cruz Pre-Performance Talk: Everything Possible
電影 FilM 27/2/2019 2, 24, 30/3/ 2019
《攀越冰峰》電影放映與影後分享會 Touching the Void: Screening and Post-screening Talk 漢堡芭蕾舞團 - 舞蹈電影系列 Hamburg Ballet at the Cinema
贊助人
林鄭月娥女士
PATrON
永遠名譽會長 執行委員會 主席 副主席 義務司庫 委員
邵逸夫爵士
HONOrArY LIFE PrESIDENT EXECUTIVE COMMITTEE Chairman Vice Chairman Honorary Treasurer Members
節目委員會 主席 委員
財務委員會 主席 委員 發展委員會 主席 副主席 委員
顧問
名譽法律顧問 核數師
查懋成先生 盧景文教授 李錦榮先生 鄭維新先生 鄭惠貞女士 劉鎮漢先生 梁靳羽珊女士 梁卓偉教授 姚潔莉女士 楊 光先生 盧景文教授 白諾信先生 紀大衛教授 羅志力先生 毛俊輝先生 李 義法官 約瑟．施力先生 + 譚榮邦先生 姚 珏女士 李錦榮先生 鄭惠貞女士 梁國輝先生 梁靳羽珊女士 雍景欣女士 鄭阮培恩女士 邱詠筠女士 龐建貽先生 孫林宣雅女士 姚祖輝先生 夏佳理先生 鮑 磊先生 李業廣先生 梁紹榮夫人 李國寶博士 孖士打律師行 羅兵咸永道 會計師事務所
香港藝術節基金會 主席 霍 璽先生 管理人 陳祖澤博士 陳達文先生 梁紹榮夫人 +
PrOGrAMME COMMITTEE Chairman Members
FINANCE COMMITTEE Chairman Members
HONOrArY SOLICITOr AUDITOr
Mr Victor Cha Prof. Lo King-man, MBE, JP, SBS Mr William Li Mr Edward Cheng, SBS JP Ms Margaret Cheng Mr Anthony Lau Mrs Yu-san Leong Prof. Gabriel Leung, GBS JP Ms Miriam Yao Mr Sunny Yeung Prof. Lo King-man, MBE, JP, SBS Mr Giorgio Biancorosso Prof. David Gwilt, MBE Mr Peter C L Lo Mr Fredric Mao, BBS The Hon Mr Justice Ribeiro Mr Joseph Seelig + Mr Wing-pong Tam, SBS JP Ms Jue Yao, JP Mr William Li Ms Margaret Cheng Mr Nelson Leong
DEVELOPMENT COMMITTEE Chairman Vice Chairman Members
ADVISOrS
The Hon Mrs Carrie Lam Cheng Yuet-ngor, GBM GBS Sir Run Run Shaw, CBE (1907-2014)
Mrs Yu-san Leong Ms Jane Yong Mrs Betty Yuen Cheng Ms Winnie Chiu Mr Paulo Kin-yee Pong Mrs Helen Lin Sun Mr Andrew Yao The Hon Ronald Arculli, GBM CVO GBS OBE JP Mr Martin Barrow, GBS CBE JP Mr Charles Y K Lee, GBM GBS JP Mrs Mona Leong, SBS BBS MBE JP Dr The Hon David K P Li, GBM GBS JP Mayer Brown PricewaterhouseCoopers
HONG KONG ArTS FESTIVAL TrUST Chairman Mr Angus H Forsyth Trustees Dr John C C Chan, GBS JP Mr Darwin Chen, SBS ISO Mrs Mona Leong, SBS BBS MBE JP
榮譽節目顧問 Honorary Programme Advisor
地址 : 香港灣仔港灣道 2 號 12 樓 1205 室 電話 : 2824 3555 傳真 : 2824 3798, 2824 3722 節目查詢熱線 : 2824 2430
電子郵箱 : afgen@hkaf.org
Address: Room 1205, 12th Floor, 2 Harbour Road,Wanchai, Hong Kong Tel: 2824 3555 Fax: 2824 3798, 2824 3722 Email: afgen@hkaf.org Programme Enquiry Hotline: 2824 2430
職員 行政總監 行政總監助理 節目 節目總監 副節目總監 節目經理 節目經理（行政） 助理節目經理 節目統籌 節目主任（行政） 物流及接待經理 •技術 製作經理 助理製作經理 •出版 英文編輯 中文編輯 助理編輯 •外展 高級外展經理 助理外展經理 外展統籌 外展助理 藝術行政見習員 市場推廣 市場總監 副市場總監 市場經理 副市場經理 助理市場經理 數碼營銷專員 市場主任 藝術行政見習員 市場經理（票務） 客戶服務主任 發展 發展總監 發展經理 副發展經理 助理發展經理 發展統籌 發展助理 會計 會計主管 助理會計經理 會計主任 人力資源及行政 人力資源及行政經理 人力資源及行政主任 接待員 / 初級秘書 助理 無限亮 高級項目經理 助理節目及製作經理 助理外展經理 助理技術經理 市場統籌 高級會計主任 項目主任 香港藝術節 @ 大館 製作人 技術統籌
STAFF Executive Director Assistant to Executive Director Programme Programme Director Associate Programme Director Programme Managers
何嘉坤 何丹蓉 梁掌瑋 蘇國雲 葉健鈴 余瑞婷 * 蘇雪凌 黃傲軒 * 譚小敏 * 張翠騫 * 金學忠 *
陳韻妍 林淦鈞 * 胡鎮華 *
梁雅芝 * 莫賦斌 * 林秋美 * 廖健邦 * 林惠賢 * 李冠輝 張鼎丞 * 譚曉峯 * 李玨熙 * 李萬祺 * 鄭尚榮 胡銘堯 周 怡 楊 璞* 許慧儀 * 陳閏霖 * 鄭佩欣 * 鄭鈞澤 * 梁彩雲 黃煒城 * 余潔儀 張慧芝 * 譚樂瑤 蘇寶蓮 * 莫穎哲 * 袁愷晴 *
黎家欣 *
林嘉敏 *
鍾玉如 *
張嘉麟 *
楊恆怡 *
麥紫琴 *
鄺敬婷 杜詩麗 * 蘇永恆 * 馮紹昌 簡凱彤 * 李美娟 黃國愛 楊文秀 * 陳慧晶 * 鄧冠恒 * 鄺嘉欣 * 蔡珮珊 * 彭健欣 * 雲希朗 * 羅雪芬 * 梁嘉倩 * 李菁菁 * 周 怡 *
陳穎業 *
Tisa Ho Connie Ho
Grace Lang So Kwok-wan Linda Yip Vanessa Chan Susanna Yu* Lam Kam-kwan* Programme Manager (Administration) Shirley So Assistant Programme Manager Joseph Wong* Programme Coordinators Tracy Tam* Angus Wu* Programme Officer (Administration) Tracy Cheung* Logistic Manager Elvis King* • Technical Production Manager Shirley Leung* Assistant Production Manager Benny Mok* • Publications English Editor Gloria Furness* Chinese Editor James Liu* Assistant Editors Grace Lam* Melody Lai* • Outreach Senior Outreach Manager Kenneth Lee Assistant Outreach Manager Bell Cheung* Outreach Coordinators Mitch Tam* Carmen Lam* Joey Chung* Outreach Assistant Michael Lee* Arts Administrator Trainee Kelvin Li* MArKETING Marketing Director Katy Cheng Associate Marketing Director Dennis Wu Marketing Managers Alexia Chow Louis Cheung* Deputy Marketing Manager Michelle Yeung* Assistant Marketing Manager Surina Hui* Digital Marketing Specialist Ben Chan* Marketing Officer Bonnie Cheng* Arts Administrator Trainee Jeff Cheng* Marketing Manager (Ticketing) Eppie Leung Customer Service Officers Benny Wong* Hayley Yeung* DEVELOPMENT Development Director Flora Yu Development Managers Anna Cheung* Mak Tsz-kam* Deputy Development Manager Lorna Tam Assistant Development Manager Conny Souw* Development Coordinator Esther Mok* Development Assistant Antonia Yuen* ACCOUNTS Head of Accounts Department Teresa Kwong Assistant Accounting Manager Connie To* Accounting Officer Peter So* Hr & ADMINISTrATION HR & Administration Manager Calvin Fung HR & Administration Officer Vivian Kan* Receptionist/Junior Secretary Virginia Li General Assistant Bonia Wong NO LIMITS Senior Project Manager Camelia Yeung* Assistant Programme Ainslee Chan* and Production Manager Assistant Outreach Manager Joe Tang* Assistant Technical Manager Karen Kwong* Marketing Coordinator Silvia Choy* Senior Accounting Officer Janice Pang* Project Officer Alana Wan* HKAF@TAIKWUN Producers Georgina Lo* Leung Ka Sin* Chan Wing Yip* Cheryl Li* Eva Chau* Technicial Coordinators
技術統籌 * Technical Coordinators*
歐慧瑜 Rachel Au、陳佩儀 Claudia Chan、陳詠杰 Chan Wing Kit、陳家彤 Doris Chen、范文恩 Fan Man Yan、 許肇麟 Boolu Hui 、黎智勇 Martin Lai、李浩賢 Lawrence Lee、羅瑞麟 Wheel Lo、蕭健邦 Leo Siu
藝術家統籌 * Artist Coordinators*
鄭瑋菁 Virginia Cheng 、竺諺民 Edwin Chuk、張素真 Susan Hayden、向怡君 Cassandra Heung 、 何嘉露 Carrol Ho、洪飛鳴 Fei Hung、李仲文 Conan Lee、李海盈 Jane Li、彭慧雯 Jan Pang、 樊明媚 Tess Pham、潘頴詩 Renee Poon、譚善渝 Sally Tam * 合約職員 Contract Staff